Component 1c: British Film Since 1995 (Ideology)

How useful has an ideological critical approach been in analysing the films you have studied? Refer in detail one or more sequences for each film.”

Plan:

Intro –

An ideological critical approach has been highly useful in analysing This is England due to the films explicit ideology about the destructive nature of hate and the harm that misguided patriotism/nationalism has on people. Such an approach to Trainspotting, however, is less useful, as the film has an implicit message on the arrogance of youth and the harmful side-effects of it. However, by displaying why people may find this lifestyle appealing and fun, the film negates a message on whether it is worth it or not.

1. How TIE conveys its meaning through the montages that preface and conclude the film, heavily implying and outright displaying the harm caused by patriotism and a brazen sense of entitlement due to ones own nationality, contrasting Combo’s ideology with the actions of Great Britain in the Falklands.

2. How a critical approach to Trainspotting is useful due to how the film conveys the arrogance and hedonistic lifestyles of its protagonists in the rapid opening montage of the film, conveying the vain but fun benefits of such a life, reflected in the style of the film, and mocking the middle-class values that Renton avoids.

3. How TIE conveys the harmful knock-on effects of such an ideology as Combo’s, indirectly resulting from the patriotism previously discussed, negatively effecting everyone, including the people who hold that outlook on life. This is conveyed in the assault on Milky and the harassing of children. The characters themselves also represent the social groups that were prevalent in England at this time.

4. How an ideological approach to Trainspotting is less useful due to the films objective display of the drawbacks, often horrifying, of Renton’s enthusiastic and hedonistic lifestyle, therefore not taking a stance on whether the lifestyle is worth the destruction it causes for them.

Conclusion: An ideological critical approach to TIE is much more useful than one to Trainspotting, as TIE has an unmistakable message that it wants the audience to accept and agree with, whereas Trainspotting has an implicit message about the folly of the carelessness of youth, but also objectively displays the flaws of such a lifestyle, ultimately not conveying a strong message like TIE does.

Essay:

An ideological critical approach has been very useful in analysing This is England (Shane Meadows, 2006) due to the films explicit message about how hate misguided patriotism can descend into hate, destruction and pain. Such an approach is not as useful in analysing Trainspotting (Danny Boyle, 1996), as the film holds a very implicit, veiled message about the arrogance and brashness of youth. However, the film negates the potency of this message by taking an objective stance, displaying the harms of such a self-destructive lifestyle but also the various appeals and attractions of that life.

This is England conveys the damage caused by patriotism through the opening and closing montages of archive news-reel footage from the 1980s. The closing montage, played immediately after the scene where Combo assaults Milky because of his ethnicity, shows the devastation caused by the Falklands War, which Prime Minister Margaret Thatcher pursued in a campaign to win support for her party and policies by stoking patriotism in the people by winning back land from Argentina. The montage exposes the victories of the war; a small village on a derelict island, and the subsequent casualties; scared, helpless POWs, dead British soldiers, parents not returning home, the effects of which are shown through Shaun’s character. In this way, Meadows is communicating that patriotism is flawed, and people can be urged into violence by a vague sense of entitlement because of their nationality, which is shown through Combo, who believes himself superior to immigrants, who he views as sub-human, because of his English heritage. This is also argued through the immediate juxtaposition between the montage displaying the horrors of the war and the violence caused by Combo’s hatred. Therefore, Meadows is arguing to the audience that the patriotic mission in the Falklands is an example of blind nationalism, which can lead to violence, reflected here through Combo’s character, who believes his violence and discrimination towards foreigners to be a just cause because of his unhealthy attachment to his country. The films ideology is highly explicit, as in the ending scene a reformed Shaun literally throws his St. George’s Cross into the sea, rejecting nationalism. In this way, the audience really has no choice but to accept the messages of the film as they are so blatant.

An ideological approach to Trainspotting is slightly useful because of its representation of youth. The young people in the film are arrogant, with punk attitudes, rejecting societal norms and social conventions. They reject “life” and the various capitalist characteristics of a picturesque middle-class lifestyle, such as “fixed mortgage payments” and “a job”. In the opening montage, Renton’s outlook on life is conveyed through the enthusiastic and upbeat ‘Lust for Life’ Iggy Pop track, reflecting what sort of music the group enjoy, and showing the various reckless activities that they engage in, such as shoplifting and drug usage. As Renton lists off the standards that he rejects in life, he is shown engaging in these activities through jump cuts and parallel editing, cutting at one point from him falling in a football pitch to him falling in a drug den while experiencing visual ecstasy from a cigarette. The rapid editing of the scene, connecting shots through Renton’s enthusiastic non-diegetic omniscient narration and the fast non-diegetic compiled score, reflects the quick fixes and vain thrills that he thrives off. The film is conveying the message that youth can be careless, arrogant, and many young people may feel as if they are untouchable, here shown through the chaotic but thrilling life that Renton lives, and the disregard he shows to societal rules and expectations while chancing death with the use of heroin. He even says “there are no reasons. Who needs reasons when you’ve got heroin?”, defining his careless and hedonistic approach to life.

An ideological critical approach to This is England is also useful due to the films unmistakable message about the negative impacts of hatred. Throughout the film, Combo is built up as a vitriolic man who genuinely hates people unlike him, as from the first scene he appears in, crashing the skinhead’s party, the film pays particular focus on his spiteful and dramatic pronunciation of racial epithets and his disregard for Milky, a man of Jamaican descent, while he performs a racist caricature of a black man. The audience is manipulated to hate Combo, e.g., non-diegetic, composed somber piano music plays as he insults black people, and, by extension, the hatred and racism that he represents. For example, in the scene where he gives a speech to win people over to his cause, he reflects many of the sentiments that people would have heard in 1980s Britain, such as criticisms of her war in the Falklands and the rise of unemployment. He also turns his hatred towards Muslim and Middle-Eastern minorities, reflecting the rise in nationalist sentiment and political parties in the 1980s, often veiling racism and violence towards minorities. In the scene where he assaults Milky, Combo feels hatred towards a man who is portrayed as genuinely good, speaking with kindness to everyone in the room, including a man who has proven himself to be racist. The audience is manipulated to sympathise with Milky through the dramatic and downbeat non-diegetic compiled music played over the beating. However, Milky is not the only victim of the hatred, as Combo himself breaks down, regretting his actions, and attacks the other members of his racing gang, screaming “I hate you” at men who share his ideology. Meadows not only influences the audience to disagree with Combo’s ideology and actions through the emphasis on his hatred and the use of non-diegetic composed music, but also shows the general destructive and chaotic nature of hate, which consumes everyone it affects.

An ideological critical approach is useful for analysing Trainspotting due to the films message on the benefits of hedonism, but the synonymous harm that such a lifestyle as Renton’s can involve. Although the film holds an implicit message about the carefree ideology of youth, conveyed through their focus on material pleasures and pursuit of fun, it balances the representation of the appeals and the harms of living such a way. For example, the film displays how such a way of living can be fun and mindless for the people living it, offering escapism through the use of drugs, e.g., when Renton overdoses and hallucinates literally sinking into the floor, completely escaping reality and the consequences of his actions, including his guilt for avoiding prison when his friend Spud was sentenced to jail time. At the same time, however, the film forces the audience to acknowledge and appreciate the harm that this approach to living can cause, and the self-destructive tendencies that Renton and his friends have developed as a result of their pursuit of pleasure. For example, while he is in a sort of transcendent ecstasy and surreal bliss during his overdose, Renton suffers an expressive and horrifying withdrawal afterwards where he hallucinates his friends mocking him and the baby he shares responsibility for the death of haunting him, showing that material pleasures can often lead to terrible consequences, and hedonism, while making for a life of easy fun and leisure, can have harmful side effects. However, it can also be argued that the film does not focus on conveying a strong message as much as it does creating an expressive and entertaining film through its style and playful nature. For example, Boyle uses expressive imagery to present the squalor that the characters live in to make the grim situation more funny for the audience, seen in the scene where Renton climbs down a toilet to retrieve a pair of pills. This is impossible, but the non-diegetic compiled score of tranquil ethereal music juxtaposed with this disgusting but comic imagery makes for a fun scene. Therefore, an ideological critical approach to Trainspotting is not as completely useful.

An ideological critical approach to This is England is much very useful due to the films explicit messages about the negative effects of patriotism and hatred. The audience is manipulated through the score to dislike Combo and be repulsed by his actions, conveying the pain that hate causes people, and also communicates the devastation that can be caused by a sense of entitlement due to ones own nationality by contrasting Combo’s actions, a man who embodies and represents hatred and nationalism, and news footage of the pain caused by the Falklands War, a war that England entered out of a vain sense of patriotism and entitlement to that land. Such an approach to Trainspotting is partially useful due to the films implicit messages about the recklessness of youth, and how hedonism, though fun, can cause agony too. This is done through the relatively balanced representation of the joys of living for pleasure, such as the ecstasy that Renton experiences through heroin, but the negative side-effects of such a lifestyle,e uh as his overdose and the subsequent withdrawal sequence. However, the film focuses heavily on creating a fast, comedic, stylish and expressive way of presenting these real and grim consequences of drug usage, more than it does on the effects of hedonism.

Component 1c: British Film Since 1995 (Narrative)

“Explore how the narratives of the films you have studied influence your response to key characters.”

Plan:

Intro – Trainspotting’s non-linear narrative influences younger audiences to be drawn to Renton and his lifestyle, presenting him as charismatic, enthusiastic and likeable. This Is England’s use of montage and an almost episodic narrative encourages the audience to empathise with Shaun, understand his descent into nationalism, and be repulses by Combo’s negative influence on his life.

1. Referencing the Opening sequence, Trainspotting’s use of ellipsis, fast-paced editing and rapid narration bridging it all to convey what Renton’s life is like, his appeal to younger audiences through pop culture references, punk/nihilistic attitude and poetic counter-Thatcherism monologue. Referencing the Fun With Friends and Racist Bother sequences, This Is England’s use of montage to encourage the audience to support and empathise with Shaun, done by conveying their personality in short sequences.

2. Referencing the London and Closing sequences, how Trainspotting encourages the audience to come to their own decisions on Renton through his acceptance and embrace of capitalism, and final rejection of nihilism, which his character has been largely built on until now. Referencing the Combo’s story montage and the racist bother sequence, This Is England’s manipulation of the audience through Meadows’ use of montage and manipulative non-diegetic compiled scores to influence the audiences to dislike Combo’s character.

Conclusion – Trainspotting uses expressive imagery and a non-linear , rapidly paced narrative bridged by his narration to encourage the audience to like Renton, but allows some independent reading of his character towards the end of the film, when Renton’s personality and character largely changes, accepting everything a lot of his charm and wit has been built off until now, his nihilistic attitude and hedonistic philosophy. This Is England uses montage and manipulative editing to encourage the audience to persistently empathise with snd understand Shaun, even during his descent into racism, whereas Combo is presented as evil, encouraging the viewer to dislike him constantly throughout the film.

Version 1:

Trainspotting’s narrative encourages the audience to respond to Renton in a positive way, using ellipsis and narration to present him as charismatic and engaging. This Is England uses montage and manipulative editing to encourage the audience to empathise with Shaun, as he is shown as innocent and good-natured, and oppose Combo, who is presented as hateful and violent.

In the opening sequence of Trainspotting, the 1977 track ‘Lust For Life’ by Iggy Pop plays, immediately establishing Renton’s interest in the music, making him more relatable to viewers who were around his age in the 1990s, when the film is set. Rapidly cut shots are connected by Renton’s omniscient narration, which is enthusiastic and poetic as he lists off stereotypically middle-class characteristics like “electrical tin openers”. The line “choose life” is a deliberate mocking of the anti-drug adverts that people Renton’s age would have been used to growing up, further making him relatable and charismatic. This nihilistic, punk attitude presents Renton as youthful, intelligent, fun. Match cuts connect random scenes displaying Renton’s hedonistic lifestyle, such as when the film cuts from him falling on a football pitch to him falling in a drug den. This conveys what his life is like to the audience: centred around pleasure and fun, which encourages the viewer to see him as easy-going. Even when trying to get off heroin, he is largely comedic and witty, claiming that his friend Sick Boy is lacking in “moral fibre”.

On the other hand, This Is England encourages the audience to empathise with Shaun throughout the film. In the Fun With Friends montage, the non-diegetic compiled soul music is upbeat and positive, reflecting the happiness that Shaun feels with his new friends. Slow motion is used in gliding, carefully framed shots of Shaun having innocent, childish fun with his new friends, jumping into puddles together. This is done in a deliberate attempt to influence the viewer to feel happy for Shaun. In the Racist Bother sequence, the audience is still encouraged to feel empathetic for him, regretful of his descent into racism. This is conveyed through a shot of Shaun, superimposed, walking through a graffitied underpass, displaying a literal descent into nationalism. The compiled, non-diegetic piano music is somber, sorrowful, manipulating the audience to feel sorry for Shaun for being indoctrinated into such a group, shown through the faded over image of the St. George’s flag against him and the gang waking, and the shot of Combo teaching Shaun how to act and talk like he does. This represents his loss of innocence, which the viewer is manipulated to feel upset by.

Trainspotting encourages the audience to respond to Renton independently through his abrupt acceptance of the previously rejected middle-class values mentioned in the ‘choose life’ monologue. The London montage is made up of conventionally shot images of typically London associated items, such as tourists, pigeons, famous street names. Non-diegetic compiled charted dance music popular at the time plays over the scene, making the sights feel vain, superficial. This signifies Renton’s shift in character, to choosing a career, choosing life. At the end of the film, his monologue serves as a direct contrast to his one at the start at the film, where he now embraces all the middle-class ideals he has avoided up until now. He accepts capitalism, Thatcherism, and rejects his previous nihilism. This encourages the audience to decide for themselves the morality of his actions, and the longitude of nihilism as a philosophy.

This Is England manipulates the audience into disliking Combo. In the Combo’s Story sequence, as Combo plays out a racist caricature of a black man, the diegetic sounds lower in the sound mix as the non-diegetic compiled score rises, another mournful piano tune, influencing the audience to feel aghast, disgusted at what Combo is saying. The use of reaction shots of Woody and Milky, who seem ashamed and embarrassed by what Combo is saying, also tell the audience how to respond to Combo. The film also focuses on the vitriol with which he says racial epithets, highlighting the pure hatred in the man. In the Racist Bother sequence, Combo is presented as both intimidating but also pathetic, as a brutal man of violent means who bullies children and harasses women, believing in the process that he is making a difference, acting as a force of good. In the closing sequence, the film uses news reel footage from the end of the Falklands War to juxtapose the consequences of the war with those of Combo’s actions. Britain is shown to have won an inconsequential island through a conflict which has caused scared, helpless prisoners of war, dead British soldiers, and fathers who never returned home, like Shaun’s. This contrasts Combo’s beating of Milky, and so forces the audience to confront the uselessness of Combo’s ideology, and that the only thing it causes is chaos and suffering.

Trainspotting uses it’s largely non-linear, fast-paced narrative and sharp narration bridging cuts to quickly communicate Renton’s witty and charismatic personality, influencing the audience to feel drawn to him. He is presented as intelligent, passionate, and having joie de vivre. In This Is England, Shaun is presented as naive, innocent, and childish, encouraging the audience to consistently empathise with him. The non-diegetic compiled score also serves to influence their responses to him, to regret his descent into nationalism and feel happy for him when he is happy with his friends. Combo, on the other hand, is consistently presented as cruel, needlessly violent and pathetic. The audience is coerced to hate him through the composed score and the juxtaposition between his actions and similar consequences of nationalism in history.

Component 1b: US Film Since 2005 (Spectatorship)

Explore how far the two films you have studied demonstrate the filmmakers’ attempt to control the spectator’s response.

Plan:

Intro – The filmmakers of Winter’s Bone demonstrated this to a large extent, as the spectators are encouraged to emphasise with the female characters, specifically Ree, who represents a group of repressed women, and encourages the audience to oppose the men in the film, who are represented as oppressive and ignorant. No Country For Old Men does not demonstrate this to as much an extent, as the film’s deliberate denial of conventional audience viewing pleasures, like a satisfying ending or a climax to a tense scene, leaves the film’s messages and themes more open to interpretation.

Winter’s Bone squirrel dream sequence, how it encourages us to emphasise with Ree.

Winter’s Bone squirrel gutting sequence, how Teardrop is represented as belittling and arrogant, in contrast with Ree, who is presented as an unconventional parental figure.

No Country For Old Men opening sequence, the film does demonstrate the attempts to provoke the audience to feel disgust at the killings, and like Moss through his careful and wise demeanour. However, his tracking the money and not giving the suffering man any water contradicts this, and presents him as a more ambiguous protagonist, one who we may not like.

Coin toss sequence, how Anton is made ambiguous by showing the man mercy against our expectations, and also how the scene denies conventions and allows the audience to come to their own conclusions/responses on the themes, meanings, characters of the film.

Ending sequence – no shootout, sudden character death, one character simply retiring, all leads to a denial of convention, forcing the audience to come to their own conclusions, also seen in cars crash scene and Anton’s reasons for killing Jean.

Conclusion – Winter’s Bone demonstrates the filmmaker’s attempts to control the spectator’s ]response, but No Country For Old Men largely doesn’t.

Essay:

Winter’s Bone demonstrates the filmmaker Debra Granik’s attempts at controlling the spectator’s response to a large extent due to the encouragement for them to empathise with the women of the film and oppose the men via representations of the two groups. However, the filmmakers of No Country For Old Men, the Coen Brothers, do not attempt to control the spectator’s response as to as high an extent, as the film denies many audience expectations and conventional viewing pleasures to encourage and allow them to come to their own conclusions.

Winter’s Bone demonstrates Debra Granik’s attempts at controlling the spectator’s response to a large extent, as seen in the squirrel dream sequence, where the spectator is encouraged to empathise with the protagonist Ree. The squirrel in the dream is shown to represent Ree through the juxtaposition of shots of it and smaller squirrels, reflecting Ree’s responsibility as a protector of her younger siblings. The increase in the editing pace of shots of the squirrel, in distress, alongside a sharp and jarring rise in the diegetic sound mix of a wood-saw, shows that the squirrel in terrified at the sign of impending danger, further shown through shots of trees burning, and the squirrel clinging onto its tree, its home. The spectator is encouraged, therefore, to sympathise with Ree, shown here to be clearly struggling to protect her home and family from the impending danger of repossession and homelessness in the winter. We also associate the blaring diegetic sound of wood-saws with the men of this traditional rural community, showing them to be the source of Ree’s struggle. Therefore, the filmmaker’s attempt to influence the spectator to empathise with Ree and oppose the men who are causing her problems, reflected in this dream sequence.

The filmmakers of Winter’s Bone also attempt to control the spectator’s response to admire Ree and her tenacity as a parental figure, and oppose the film’s antagonists, men, represented by Teardrop in the squirrel gutting sequence. Here, Ree is shown to be an unconventional role model to her siblings, teaching them to hunt despite being a woman, filling in a traditionally male role in this patriarchal community. The low angle shot of her aiming a rifle with the two younger siblings beneath her highlight her strength and defiance of the conventions of the male-dominated system. In this way, Granik attempts to influence the spectator to respect Ree, who goes against unlikely odds in this orthodox, sexist community for the sake of her family’s welfare. The audience is also influenced to oppose and dislike the men of the community, represented by Teardrop, whose clothing is dirty, with an unkept face that presents him as a repulsive human being. He belittles Ree by grabbing her face, showing that he feels he has power over her, as he is a man, and also mocks her by waving cocaine in her face, taking some himself and so highlighting the character’s degradation. Ree’s defiance, however, by meeting his eyes and refusing to be intimidated by his aggression, further encourages the spectator to support her and root against Teardrop.

Whereas Winter’s Bone demonstrates it’s filmmakers’ attempts to control the spectator’s response to a large extent, No Country For Old Men makes it’s themes more ambiguous and, therefore, open to interpretation, as seen in the opening sequence. At first, the spectator is encouraged to view Anton as a clear-cut villain and Moss as a stoic protagonist. The brutality of Anton’s initial murders of innocent people in contrast to his seeming lack of emotion represents him as an inhuman sociopath, and so the spectator is encouraged to disagree with this actions. Moss, on the other hand, is portrayed as calm, composed and intelligent, carefully surveying a crime scene and assessing where the money could have gone to with a careful methodology, presenting him as a responsible, experienced veteran. Therefore, the spectator is encouraged by the filmmakers to support him on his journey. However, the characters are not entirely clear-cut in how they are represented as good or bad. Moss, for example, does not aid the dying man begging for water, and kills a wild animal while hunting, which presents him as cold and relatively uncaring of other’s suffering. He also decides to steal the money he finds, with no explanation of why he does so. The spectator, therefore, is allowed to read the character’s actions independently, and may decide that he is doing it so support his family, or out of simple greed. In this way, the protagonist is not entirely good or conventional, and is left more ambiguous through his actions. Therefore, the Coen Brothers do not always attempt to control the spectator’s response.

The filmmakers No Country For Old Men also allow the spectator to respond independently of their influence or direction through the actions of Anton in the coin toss sequence. Here, Anton is established further as a cruel and intimidating figure, who seems to enjoy threatening an innocent gas station clerk and seeing the man’s frightened reactions and desperateness to get away from Anton, as evidenced by the line “You don’t know what your’e talking about” when the man says that he needs to close his shop. This prompts the audience to further dislike Anton’s character, however, the scene ends, surprisingly, without any bloodshed, Anton allowing the man to live because of his lucky call of a coin toss. This presents Anton as a man who only kills out of necessity, as seen in his murder of the police officer in the opening sequence to escape the police station. This small level of benevolence further perpetuates Anton’s image as an embodiment of death, leaving the spectator to come to their own conclusions on the character. Even if their reading of the film is aberrant, the Coen Brothers allow them to make respond to the messages and themes of No Country Of Old Men, without being fed information through explicit character actions.

The Coen Brothers also do not attempt to control the spectator’s response in the ending sequence of No Country Of Old Men. In this sequence, the film ends in an anti-climatic way, Moss being killed offscreen before his final duel with Anton, and Sheriff Bell simply retiring. This abrupt and emotionally unsatisfying ending goes against typical western movie conventions where the distinctly and recognisable good protagonist triumphs against the detestable and undoubtedly bad antagonist, instead allowing the villain to live while the hero dies randomly and without dignity, shown to be lying in his own blood in a random motel doorway, killed by a group of unknown gangsters. The abrupt conclusion to this rivalry does not try to coerce the spectator into feeling happy or frustrated with the ending, as the ambiguous nature of the ending instead encourages them to come to their own conclusions. Although most audience members will likely feel unsatisfied at the sudden ending, they are given the freedom by the filmmakers to make their own minds up on what the meaning of the film is, and to respond in an individual way, rather than a conventional ending to the story telling them how to feel, i.e happy that the villain failed. The ending sequence also allows the spectator to respond independently by again presenting Anton as a somewhat merciful figure. Although he hunts done Carla Jean because of his promise to Moss to kill her, he gives her the option of staking her life on the coin toss. Her refusal to play, in his philosophy, essentially forfeits her life, and so the murder is to him, justified. Even though the spectator is encouraged to sympathise with Jean through her loss of husband and mother and clearly mourning for the deaths, having done nothing herself to provoke Anton’s aggression. Still, the spectator, while likely viewing Anton as cruel and uncaring, will see that he has a code he sticks to, and Jean refused her chance at survival, and so are given some measure of independence here in responding to the film Therefore, No Country For Old Men demonstrates it’s filmmakers’ attempts at controlling the spectator’s response to a small extent.

Winter’s Bone demonstrates it’s filmmakers’ attempts at controlling the spectator’s response to a large extent, as Debra Granik influences the audience to emphasise with and support Ree, a strong woman who stands against the injustices and inequalities of a male-dominated, sexist society, and encourages the spectator to oppose said society and the oppressive men in it, represented by the repulsive and mocking Teardrop. No Country For Old Men, however, demonstrates it’s filmmakers’ attempts at controlling the spectator’s response to a small extent as, although they are encouraged to view Anton as cruel and Moss as stoic and wise, both characters are given a sense of ambiguity, through Anton’s harsh but strict moral code and Moss’s cold lack of compassion and the ambiguous reasons for stealing the money, alongside the unconventional ending that does not force or encourage the spectator to respond positively to a typical victory of good over evil. Instead, neither side wins, and the spectator is allowed to decide the meaning and significance of the abrupt conclusion.

Component 1b: US Film Since 2005 (Ideology)

How valuable has ideological analysis been in developing your understanding of the themes of your chosen films?

Plan:

Intro – Very important, as a feminist ideological analysis allows for various meanings to be extracted from a film with an implicit ideology, winters bone, which comments on feminism in an anti-feminist world. It would not be as effective an approach to no country for old men as an approach of determinism, which allows for the films implicit messages about the important role of chance in death to be analysed.

A feminist ideological analysis has been very valuable in an analysis of winters bone due to the films implicit messages about the inequality of genders and traditionalist gender roles in a rural, orthodox community (Insert Granik quote), e.g., opening sequence.

It has also been valuable due to the films denial of the male gaze and passing of the bechdell test (insert context here). It also goes against the patriarchal traditions of a male-dominated society by utilising a strong protagonist and villainous male characters who serve as obstacles to her, e.g., cattle market sequence.

No country for old men is better analysed through a deterministic ideological approach, due to the films implicit emphasis on chance and randomness in death, e.g., coin toss sequence.

An ideological approach of chance is also valuable due to the films abrupt conclusion, which also emphasises the role of chance in fate, e.g., ending sequence.

A feminist ideological analysis of Winter’s Bone (Debra Granik, 2010) is very valuable, as it allows for the films implicit messages about inequality in male-dominated society and the strength of an unconventional female protagonist. A deterministic ideological approach is more valuable in developing understanding of the themes of No Country For Old Men (Coen Brothers, 2007).

Essay:

A feminist ideological analysis is very valuable in understanding the themes of Winter’s Bone due to they film’s implicit messaged about the impacts of inequality between men in women in a traditional, patriarchal society. A feminist analysis of No Country For Old Men is less valuable, but a deterministic approach would be valuable due to the films messages about the role of chance and the random nature of death.

A feminist ideological approach is very valuable for developing an understanding of the themes of Winter’s Bone, as the film is “a feminist film about an anti-feminist world”. This can be seen in the representation of gender roles in the opening sequence of the film, where Ree, a young woman, takes paternal responsibility and cares for her family, e.g., combing her ill mothers hair and walking her younger siblings to school. She is shown to have traditionally masculine traits, e.g., she clearly desires to enter the military, as seen in her longing look through a window at students training to join. This is in defiance of the men in the rural, isolated Ozarks community, who are shown to have dominance and the roles of protectors, such as when Tonya’s husband warningly approaches the Sheriff at the end of the scene with a knife, showing him to consider the property his territory, protecting the women in it. This shows that there is a clear gender divide, as the women, like Tonya, passively care for the cattle and the land, while the men hunt, as evidenced by the dead game that Tonya and her husband cut up. Therefore, a feminist ideological approach is very valuable in understanding the themes of the film, as the film comments on the inequalities of a traditional, patriarchal society where men are dominant in authority and control over women.

A feminist ideological approach is also very valuable in understanding the themes of Winter’s Bone due to the film’s denial of traditional, male-dominated industry film conventions. The film passes the Bechdell Test, as it follows primarily female protagonists in a struggle against a system that is unfair towards them for their sex. This can be seen in the cattle market sequence, where Ree stands out alone in a room dominated by only men, showing her to be isolated, an outsider in this macho community. The films also denies the Male Gaze, as Ree is not glamourised for the arbitrary viewing pleasures of male audience members, instead wearing dull, baggy clothing, with little makeup and a role as both mother and father, performing traditionally male tasks, like hunting in the squirrel gutting sequence and teaching the children to cook, like at the end of the opening sequence, when she shows them how to cook a deer stew.

A feminist ideological approach is also very valuable in understanding the film’s themes as it allows for the audience to understand the explicit representation of men being oppressive and tyrannical over women in this society, alongside the sharp sex divide and subsequent inequality this causes. This can be seen in the cattle market sequence, where the juxtaposition of shots of frightened cattle and a desperate Ree emphasises her entrapment in this harsh system, alongside her physical enclosure behind walkway railings, similar to the cattle in cages. As she shouts desperately for Milton’s attention, he neither hears nor sees her, representing the isolation of women in the society by the men, who are only concerned with their own positions of power over the women. A sharp increase in the non diegetic composed score increases the tension of the scene, heightening the audience’s panic, immersing us in Ree’s desperate position and, therefore, helping us understand her helplessness in this oppressive system. Therefore, a feminist ideological analysis to Winter’s Bone is very valuable in understanding it’s themes.

While a feminist ideological reading of Winter’s Bone is very valuable for understanding the implicit feminist messages and themes of the film, it would not be as effective in understanding the themes of No Country For Old Men, which would be better served by a deterministic ideological analysis. The film largely focuses on the significant role of pure chance and randomness in death, as seen in the coin toss sequence. In this scene, tension is built through interspersed rises in the non diegetic composed score, slowly dollying in on claustrophobic over-the-shoulder shots of the two men, and a drawn out silence in the sound mix add’s a strong sense of anxiety and suspense to the scene. However, despite the strong suggestions that the scene will end in a dramatic climax, the clerk simply calls the coin toss correctly and Anton leaves him alive. This abrupt and unsatisfying end to the scene means it made no impact on the plot. However, it serves to emphasise the importance of chance in death, showing that sometimes, even when death is expected, it may not come, as ultimately the process is random, represented here by the purely random decision of a coin toss. This theme is perpetuated by Anton’s representation as a grim reaper-like figure, with black clothing, an emotionless tone of voice, and uncanny, even inhuman characteristics, like finding enjoyment in the man’s fear, as seen in his knowing smile when he says “I can come back then”, implying he will kill the man in his sleep. The themes of death in this scene is also represented by the noose-like ropes hanging behind the clerk’s head, representing his brisk encounter with death, denied only by a random coin toss.

A deterministic ideological approach to No Country For Old Men is also very valuable in developing understanding of the film’s themes due to the large role that determinism plays in the ending sequence. As in the coin toss sequence, much time is spent throughout the film to raise tension, presumably buildings towards a final showdown between the protagonist, Moss, and the antagonist, Anton. However, Moss is killed offscreen while having idle conversation with a random woman, shot by people we do not know and left to die in an undignified way, bleeding in a mole doorway. This sudden emotionally unsatisfying and jarring ending to Moss’s journey serves to remind the audience of the way that death works, chance. It does not wait for events to reach a crescendo, and strikes suddenly, without warning, and leaving us confused. This can also be seen in the death of the poolside woman, who had no involvement in events, but became just another victim of random, careless violence. The sudden nature of the event is perpetuated by the first person perspective, shaky handheld camera movements putting us in Bell’s position during the shootout. Upon discovering Moss’s body, he is shocked, the unexpected event prompting him to retire from his career in dismay at and fear of the uncaring violence that permeates the film.

A deterministic ideological approach is very valuable in understanding the themes of No Country For Old Men also because of the way that random violence plays out in the final sequence of the film. In the final scene, alongside Moss’s sudden death, his widow, Carla Jean, is killed by Anton, who represents an emotionless death, as evidenced by Anton’s clear lack of sympathy for Jean, who has recently lost two loved ones and has done nothing to deserve death. In this scene, Anton himself is also nearly killed in a sudden car crash. Leading up to the crash, we see that he is following traffic codes by crossing a junction at a green light, causing him to presume that he is safe. However, the random nature of the crash, perpetuated by the fact that it does nothing to progress the plot, reinforces the theme of determinism. Similarly to the coin toss scene, death does not occur here, but the random near-death-experience shows that violence can still happen at random. The fact that Anton himself, the personification of death, is a victim of the randomness of violence reinforces the indiscriminate nature of death. Therefore, a deterministic ideological approach is very valuable in understanding the themes of No Country For Old Men.

A feminist ideological analysis of Winter’s Bone is very valuable to understanding the film’s themes due to the implicit imagery in the cattle market sequence displaying the helpless situation of women like Ree in an “anti-feminist world”, the denial of the male gaze, the exposure of the inequality between traditional gender roles and a strong protagonist who does not fit specifically into male or female societal roles. A deterministic ideological approach to No Country For Old Men is more valuable in understanding the film’s themes of the unpredictability and uncaring nature of death, as seen in the unforeseeable deaths of Moss and Carla Jean in the ending sequence, and the miraculous chance encounters with death of Anton and the gas station clerk in the ending and coin toss sequences. Therefore, a feminist approach to Winter’s Bone and a deterministic approach to No Country For Old Men are very valuable in understanding the themes of the film’s. However, using one of the two analyses on both films would not be very valuable, as the two hold very different messages, the former focusing on the perseverance of a strong female protagonist in a male-dominated society, the latter emphasising the random, cruel nature of death.

Component 1a: Hollywood 1930-1990 (Comparative Study) – Contexts

“Compare how far your chosen films reflect their different production contexts.”

Planning:

Introduction – Overview of how Casablanca was influenced by the context of the ‘Golden Age of Hollywood’ and the studio system it was produced in, and the same for Bonnie and Clyde and the ‘New Hollywood’ alongside the French New Wave and the 1960s as a whole.

Talk about ‘Ricks introductory Sequence”, particularly focusing on the cinematography and sound design, editing and representation. Talk about how this is a result of the Studio System and Classical Style and WW2 contexts. For Bonnie and Clyde, talk about how the opening sequence differs from the Classical Hollywood Style in its jarring close ups with lack of establishing shots, but compare in the way that the lead stars are presented. Make sure to compare each element of each film, i.e cinematography or performance, to examples of the same element from the chosen sequence of the other film.

Comment on how the ‘Leaving Rick’s’ sequence is shot, how the characters/actors are represented, and how the editing and sound design are incorporated to create a seamless feel to it. Then, compare this to the ‘Meeting Family’ sequence, focusing on this scenes blatant differences to Classical Hollywood and similarities to the French New Wave.

Conclusion – Focus in on how the objectives of the directors changed between the times that both films were made. Consider that in the 1940s, it was about sleekness and seamlessness, keeping attention on the story and the actors, whereas in the 1960s filmmakers inspired by the French New Wave wanted to defy conventions and produce casual, low budget films.

Version 1:

Casablanca and Bonnie and Clyde reflect the social, cultural and institutional contexts they were made in to a large extent. The former was made in a time period where focus was placed on the story, helped to be communicated through seamless editing and smooth, unnoticeable cinematography, the latter inspired by foreign film movements that placed emphasis on going against convention and utilising casual, cheap film production.

Casablanca was made during the ‘Golden Age of Hollywood’ where the Classical Hollywood Style, a method of filmmaking that focused on remaining unnoticed to the audience and entirely serving to communicate the story, was dominant. This can be seen in the camerawork of ‘Rick’s introductory sequence’, which begins with a typical long shot to establish the location for the audience, then cutting to a close up of the cafe’s sign to bring their attention to the specific location of the scene. The camera then smoothly tilts down and follows behind a group of customers entering the cafe, a moment in which the gliding movement done with only two cuts so far is used to immerse the audience in the environment, further done by the doorman holding the door for the camera and a waiter acknowledging it. On the contrary, Bonnie and Clyde was made after the collapse of the Hollywood studio system, after which theatres, no longer directly owned by the production companies, had the freedom to show new, foreign films. This led to a rise in filmmakers inspired by the French New Wave, such as Arthur Penn and Warren Beatty, who incorporated the style of filmmaking from the New Wave, which emphasised a casual approach to making the film, often being self-aware and provocative. This can be seen in the opening sequence of the film, which immediately begins with an extreme close up of Bonnie’s lips, without the preamble of an establishing shot, jarring the audience. This opening shot also immediately sexualises her, alongside the later use of sexual imagery done through the coke bottles and Clyde’s gun, which is felt suggestively by Bonnie. This reflects the increasing acceptance of sexual imagery in America in the 1960s, which Bonnie and Clyde includes often, therefore bypassing the Hays Code, which Casablanca adhered to by avoiding violence or sexual imagery. The rest of the opening scene in Bonnie’s bedroom plays through tight close ups of her face, obstructing the room from view and emulating her feeling of being trapped and constrained, deliberately avoiding the classical convention of establishing where the scene takes place. Therefore, both films reflect their production contexts, through their approach to conveying information to the audience, to a large extent.

The sound design in Casablanca in ‘Rick’s introductory’ sequence is smooth and unnoticeable to the audience, the composed diegetic sounds of Sam playing and people talking growing in the mix as the camera nears him and those crowded around him. This, alongside the constant background ambience of conversations in the cafe and the way these subtly subside in the sound mix when the audiences attention is being focused on dialogue, serve to immerse the audience in the film and keep their attention on the story and the setting it takes place in. The films also cuts, in Classical Hollywood Style, as little as possible, utilising smooth, subtle camera movements and carefully choreographed actors to show what is of importance in frame, such as two people talking, and only cuts to bring us deeper into the cafe, keeping the audiences attention away from the technical aspects of how the film is made. Bonnie and Clyde, in it’s opening sequence, has an undertone of faultiness in how it was made, as when Bonnie first speaks, the diegetic dialogue is loud and jarring. In contrast, when they speak outside, the dialogue sounds distant and muffled, hard to make out. This prevents the audience from becoming completely immersed in the dialogue of the story. The films also goes against Classical Hollywood convention of showing the action by avoiding showing Clyde commit the robbery, remaining outside as he goes in with a gun. This purposefully denies the audience the pleasure of seeing the action, inspired by the French New Wave style of focusing on the characters and their personal journey rather than just the crimes they commit, although the consequences of their actions and the violence they commit do play a key role in the film. Therefore, both films reflect their production contexts to a large extent through their approaches to cinematography and sound design.

The influence that the Hollywood Star System had on Casablanca can be seen in the ‘Leaving Rick’s’ sequence. Here, the cinematographer ensures that Ingrid Bergman, a popular star that Warner Bros. Had a contract with, looks as glamorous and beautiful as possible. She is presented is close ups, such as when she talks to Rick, by herself, to keep the audiences attention on her, in which the side of her face she preferred is shown, catch lights in her eye give them a lively sparkle, and the careful composition of the light on her face presents her as elegant, fragile and flawless, if unrealistic, in her appearance. Bonnie and Clyde strives for a more naturalistic beauty in the opening sequence, where Faye Dunaway in shown simply with makeup to present her as a more relatable and real, though still a renowned film star, protagonist for the audience to follow, as in the French New Wave style of real, typically working-class protagonists fighting against the establishment. In Casablanca, Humphrey Bogart is introduced to the scene in a low-angle shot, presenting him as a physically larger character, framed by an overhead arch, centre frame, to keep the audiences attention on him. Bonnie and Clyde simply shows Clyde from above, without a close up or carefully composed frame to signify his importance. He is also portrayed as a flawed protagonist in the film, evidenced by his limp from losing a toe in prison as he approaches the store to rob it. On the contrast, Rick seems constantly in control of the situation, carrying an air of causal calm about him at all times. This shows that both films reflect the contexts in which they were made to large extents, through their approach to representing the actors and focusing the audiences attention on them.

In Casablanca’s Leaving Rick’s sequence, the camera carefully rises and falls when the actors do, such as when Lazlo sits and it pedestals down to track him. Actors are carefully choreographed to keep our attention on certain significant things in frame, such as when Renault turns and calls for a waiter, revealing one, distant and unimportant in the background, but still there for the audience to see who he is speaking to. This smooth and seamless camerawork allows for the scene to continue on for some time before cutting to get closer to the characters, keeping the audiences attention on their conversation rather than the editing. Bonnie and Clyde, on the other hand, uses distracting editing in its ‘meeting family sequence’, such as the sudden and inconsistent slow motion shots when the kids roll down a hill, then having reached the bottom by the start of the next shot, and the non-temporal cut from one shot of Bonnie throwing sand to her hugging her mother in the next. These unusual and non traditional approaches to editing are disorienting for the audience, also done through the strange, hazy filter the scene is shot through, giving it a dream-like, surreal quality. This scene also features many sudden moments of eerie silence, such as when it cuts to Moss stood on the hill, which makes the scene feel imperfect in its production. Another way the films reflect their production contexts is in the approach to shooting on sets or location. Casablanca was made during the Hollywood Studio System, where the big eight film studios owned sets which they would display in films through shooting on superficial locations created through lavish set design. This is evident in Casablanca, as Rick’s expansive, lively, exotic and bustling cafe is designed meticulously in such a way to allow the camera to move through it, conveying the story and the expensive, detailed set. Bonnie and Clyde, in the style of the French New Wave style of filmmaking, favours a naturalistic approach, and shoots on location, evident in how the background of the picnic area is a decaying, abandoned industrial site, reflecting the backdrop of poverty during the Depression Era, but shot in rural Mid-West America, where some areas were still recovering financially from that period. Therefore, through their approach to editing and shooting on locations, these films reflect their production contexts to a large extent.

Both films reflect the production contexts that they were made in to large extents. In Casablanca, it is clear through the smooth cinematography and sound design, lack of editing, high emphasis on the stars, and shooting on superficial, constructed reality sets, that it was largely a product of the Classical Hollywood Era, which sought to keep focus on the story and the stars. Bonnie and Clyde was heavily influenced by the French New Wave and the rising acceptance of sexuality in the 1960s, which is seen through the films flawed, distracting editing, jarring and disorienting cinematography, unfitting sound design and naturalistic approach to presenting its stars and shooting on real locations, where they adapted to the environment to film.

Component 2d: Experimental Film 1960 – 2000 (Auteurship)

“Experimental film is often the result of an auteur challenging established conventions with fresh ideas.” With reference to your chosen film option, how far do you agree with this statement?

Planning:

Intro: I agree with the statement large extent. Make reference to the concept of Auteurship and explain how Tarantino is one, making reference to Pulp Fiction,

Explain how Tarantino is an auteur through his subversion of convention, making specific reference to sequences in Pulp Fiction. Describe how the film experimental and LTQ!

Explain why he is an auteur through his filmography motifs and reoccurring experimentalism signature to his oeuvre.

Make reference to criticism of the auteur theory and show why experimental film is not always made by auteur, and can be a result of a directors wish to dismantle convention, but acknowledge the increasing influence of directors who create experimental film, e.g Nolan or Wes Anderson. Experimental or auteur for different reasons, i.e narrative or visuals, etc.

Conclusion: Link points together, explaining why Tarantino has created an experimental film through his Auteurship, but experimental film, while common among auteurs, is not specific to them.

Version 1:

I agree with this statement to a large extent as auteur directors will often strive for new and original films, and often achieve this through experimental methods of filmmaking. The auteur theory states that a director who exudes a specific style or aesthetic that is singular to them, making their work recognisable as having been made by that director, is an auteur.

Tarantino is considered an auteur director because of the nuanced way he subverts narrative convention in Pulp Fiction. The film is episodic, circular, and each plot arc plays out in a linear order within itself. Tarantino keeps the film interesting by frequently swapping audience perspectives and playing major events in the story out of order, keeping the story and plot out of sync for the entire film. The way that he plays around with established narrative form in an otherwise cliche genre setting makes the film experimental, and this experimenting with narrative has become a staple of Tarantino’s oeuvre. This can also be seen in his other film, Reservoir Dogs (Quentin Tarantino, 1992), where the events taking place in the present are often broken apart or interchanged with snippets of the events leading up to them. Therefore, experimental film is often the result of an auteur challenging established conventions with fresh ideas, and this is significant in Tarantino’s style as an auteur in creating nuanced narrative.

Tarantino is also experimental in his approach to other aspects of filmmaking. In Pulp Fiction, this can be seen in the dialogue. Conversations are often entirely centred around copious pop culture references, typically music and film of the 1970s that Tarantino himself appreciates, making it more distinct to him as a director. There is subtext to these seemingly pointless discussions, and crude language within them is another motif of his filmography that makes his films recognisable as having been made by him. Obscure, vintage soundtracks, shooting on film, subversion of genre cliches, here that is crime/thriller, extreme violence used for comedic effect are also reoccurring staples in his entire body of work that make him films instantly recognisable as a Tarantino film. This can be seen in Pulp Fiction in the conversation between Jules and Verne. They casually talk about TV and fast food for a long period of time before carrying out a hit in an apartment. This scene is very drawn out, uses entertaining yet seemingly unrelated dialogue, and climaxes in a bloody and violent death. Therefore, auteurs do often experiment with new and fresh approaches to established film conventions to make their films more distinct and specific to them. This can be seen in Wes Anderson, for example, whose oddly symmetrical visuals and dry humour and dialogue give his work an individuality in their experimentalism and a link to him as a director. Therefore, auteurs will often create experimental film through a desire to make nuanced, interesting films specific to their oeuvre.

However, I do not completely agree with this statement, as auteur theory has been criticised for placing too much emphasis on the director alone as the creator and executor of an artistic vision in a film. There are many people who work on a film, for example, the cinematography for Pulp Fiction was done by Andrzej Sekula, who would go on to do a number of Tarantino’s other films. Therefore, it can be argued that Tarantino alone did not create the experimentalism of Pulp Fiction, rather a group of people who each input their vision and skill. However, this can be argued against as Tarantino wrote the script for Pulp Fiction, and often with other auteur directors the crew of a film may input their own ideas, but ultimately they carry out and partly execute the artistic view of the director who oversees that the film executes their idea/vision correctly. Therefore, many auteur directors do execute their vision in their films accurately enough so that it is specific to them, and any experimental narrative, dialogue, or aspect of it can be attributed to them and their desire to create a nuanced and fresh subversion of an established convention. Therefore, I agree with this view to a large extent.

I agree with the view that Experimental film is often the result of an auteur challenging established conventions with fresh ideas to a large extent. While experimental film is not specific only to auteur directors, most auteur directors will create and execute fresh, innovative takes on film convention to make original and entertaining works that are recognisable as their due to an overarching style in their filmography, as seen with Quentin Tarantino, and this drive for originality and ingenuity often results in experimental approaches to filmmaking.

Component 2d: Experimental Film 1960-2000 (Narrative)

“Explore how far your chosen film or films are experimental in challenging conventional approaches to narrative.”

Planning:

Introduction – Briefly explain some context, i.e traditional approaches to narrative (3 act structure, 3 types of narrative), and summarise how/how much Tarantino subverts these traditions.

Describe how Tarantino subverts audience expectations and orthodox narrative through a non-linear, episodic narrative through a jumbled plot, linking to Tzvetan Todorov’s 5 stage theory. Also how he follows the 3 types of narrative.

Describe his switching between different narrative viewpoints through characters, restricted and unrestricted, and audience positioning. Explain how he subverts Vladimir Propp’s theory on character types, and his unique use of dialogue.

Conclusion: Describe how Tarantino combines episodic, circular and linear narrative types, changes audience positioning and narrative viewpoints regularly, and subverts established film theories/tropes and the cliches he himself included deliberately in the film to challenge conventional approaches to film narrative.

Version 1:

Pulp Fiction is highly experimental in it’s approach to narrative. Narrative traditionally follows a three act structure with a linear plot. Tarantino creates a narrative that subverts conventions and regularly swaps viewpoints, abandoning common narrative form in favour of focus on dialogue and character.

Tarantino subverts audience expectations in Pulp Fiction by going against orthodox film narrative, described by Tzvetan Todorov as a five stage process, involving the equilibrium, the disruption, recognition and resolution. Pulp Fiction is broken up into three distinct chapters which are played out of linear sequence, epilogued and prologued by a scene in a diner. This makes the plot episodic, circular, and linear, as each story plays out in chronological order in itself. The plot is completely separate to the story, leading to a highly experimental and disrupted narrative. The audience does not witness the plot playing out in order of the events occurring, for example, the diner sequence is shown at the beginning and the end of the film, but in the story occurs somewhere near the start of events, and the final scene chronologically int he story is shown around halfway through through the film’s plot. Tarantino therefore subverts audience expectations by fragmenting the plot and leaving the viewer to create the story in their own mind after seeing the film. He follows the three most common narrative types, and uses multiple devices such as inter-title cards and chaptering to create a highly irregular narrative that combines different conventional forms to subvert traditional narrative theory and create an experimental narrative in Pulp Fiction.

Tarantino also challenges conventional approaches to narrative through his frequent switching between narrative viewpoints. For example, at the start of the film the audience is positioned to empathise and care for the two diner robbers. At the end of the film, we are positioned to care about Jules and his story, and in that scene, despite what we know about them, the robbers are the antagonists with a binary opposition to Jules, who is in that scene our protagonist. He also uses restricted and unrestricted narrative viewpoints, such as when we do not know about the armed man in the apartment bathroom whilst the hit is happening, but later on we are aware of the fact, whereas Jules and Vincent are not. Every different chapter the narrative viewpoint shifts between characters, which stops the audience from seeing any particular person as the main character or villain, subverting Vladimir Propp’s theory on character type, stating that there are seven main character types in all stories, such as the hero, villain, and false hero.

Tarantino also does this by making the characters immoral and hard to look up to, so no character is the hero, villain, etc. Tarantino also places a great amount of emphasis on the dialogue in the film. The characters spend large amounts of time discussing irrelevant topics, such as how Vince and Julie’s spend as much time talking about fast food and foot massages leading up to the hit in the apartment as they spend carrying out the hit itself. The audience would not realise this as the dialogue, despite going against convention buy being so seemingly pointless, flows so well and immerses the viewer in what is being said. We are drawn in by these conversations that do not progress the plot in any way, only revealing binary oppositions, such as Vince’s belief that foot massages are inappropriate, explaining his later reluctance to take Mia on a date, or Butch’s dedication to his father’s watch. These oppositions, established by Claude Levi Strauss, provide the film with underlying tensions that immerse the audience. Tarantino subverts this theory by revealing the binary oppositions through seemingly pointless conversations about apparently unrelated topics, rather than through character actions or inner-monologue. The dialogue is flowing and entertaining to listen to, providing the film with a rhythm that flows smoothly to move the audience between major events, which are more memorable than the events themselves. Tarantino challenges conventional approaches to narrative through original, nuanced and experimental dialogue and cliche characters that are fleshed out and developed through the subtly written dialogue, script, and shifting narrative viewpoints.

Pulp Fiction is highly experimental in challenging conventional approaches to narrative. Tarantino utilises a chaptered, non-linear plot that goes against traditional narrative convention to encourage the audience to order the story themselves, forcing viewer participation and subverting Todorov’s established theory on five stage theory. He also swaps audience positioning to show characters from different perspectives, adding a layer of depth to the film through an experimental methodology. He incorporates fresh and original dialogue that does not progress the story but immerses the audience by being so casual and calm, and fleshes out the cliche characters through binary oppositions and subtle meanings between the lines. The characters themselves go against convention, despite being cliches themselves, as they are realised and developed through the dialogue and the audiences shifting feelings towards them as Tarantino changes the narrative and audience positioning.

Component 2b: Documentary Film (Digital Technology)

“Portable, digital cameras, digital sound recording equipment and non-linear digital editing have had a very significant impact on documentary film.” How far has digital technology had an impact on your chosen documentary film?

Plan:

Intro – briefly evaluate the significance of digital technology for documentary films and list the main reasons why – portability of digital cameras, digital audio and editing were positive for it. Then introduce Sisters In Law.

Para. 1 – Discuss the opening sequence and pick apart the aspects of digital technology in the question.

Para. 2 – Discuss the aspects of digital technology in the opening sequence.

Para. 3 – Manka sequence. Remember to keep in mind editing, audio and digital cameras are seen in the film and were used in its production tot he filmmaker’s’ advantage.

Para. 4 – Manka Sequence.

Conclusion – Link back to question, evaluate overall impact on documentary film through positive effects on production.

Version 1:

Digital technology has impacted Sisters In Law (Kim Longinotto, 2005)to a large extent. Digital audio equipment, digital camera technology and editing have made it easier for Kim Longinotto to gain high quality footage and documentation of their subject without making any sacrifices during the production process.

In the opening sequence of Sisters In Law, the camera shows the view from inside a moving car, introducing us to the village the film will be set in. The camera used here is steady and captures the view from outside the window clearly, in good quality footage. This is the first time that the portability of digital cameras can be seen in the film, as the camera being used here fits into the back of this small car. The first show we see of the office is a man parking his bike up. This shot, alongside those inside the office, were included in the final film after the editing process because Longinotto was able to film for long periods of time, capturing lots of footage of this village so that she could choose which clips to keep in the film. This is because the digital cameras hold near limitless storage, so that the filmmaker can film for as long as they want, as seen in the opening shot to this sequence, and decide what to include in the film in post-production. The lightweight nature and portability of digital cameras allows for Longinotto to film in these cramped office conditions without getting own the employees’ way, since the small camera can just be moved when needed. These digital cameras can also film in natural and low light conditions, as seen inside the office, without the need of obtrusive artificial lighting, and the end product of the footage is still high quality.

There is also no need for a boom-stick to pick up audio here, since there is a non-directional camera built into the camera. This means that there is no large audio device taking up space in the room, making sure that no employees are distracted by the camera crew since their small and portable equipment keeps them unobtrusive. This non-directional microphone also does not need to be aiming at a specific subject to capture audio from them, and just one digital camera can capture good quality audio from around the entire room without using bulky, heavy and obstructive equipment. Digital cameras are also cheaper than film cameras, so two were bought for Sisters In Law, and we can see this from how the film cuts between them both. This allows for more footage to be captured, as seen here from where the camera cuts from a shot of a woman setting up her desk in the office and answering a phone to a man in the lawyer’s office the next room over. But despite there being more cameras here, they still take up little more space as they are so small and portable. The audio from the office has also been edited to play over the footage of man in the lawyers office, so that we can hear the conversation playing out in one place but also be immersed in the environment from the clip of the office, making us, the audience, feel like we are really there. The digital camera can zoom in on objects of significance, such as the wife who is giving her story, to focus the audience’s attention on them without physically moving the camera and distracting the participants. The compact nature of the cameras also leads to people sometimes forgetting that they are there and giving a genuine reaction to things, such as when the lawyer shouts “That’s what you men do” at the husband, which allows for more authentic aspects of these people and life in the village to be captured.

Digital camera technology has also had a significant impact on the production of the Manka sequence. The camera is small and compact, remaining unobtrusive in the lawyer’s small office as it takes up significantly less space than a film camera would. This prevents it from being distracting at any point for the participants in the documentary, such as the small child Manka, who does not look at it more than once throughout the whole scene. It also allows for Longinotto to point the camera at whatever is relevant in a specific moment, such as the lawyer, who she pans right to show as she gives a reaction to the aunt’s actions. The lawyer’s reaction, a brief moment of anger, was also made possible by the size and portability of the digital cameras, as the lawyer likely forgot that they were there and so gave a completely honest reaction in the heat of the moment. These digital cameras can also zoom, so Longinotto can bring the audiences specific attention to something, such as the aunt’s reaction to what she has done when it zooms in on her face as the lawyer questions her, or in this case the scars on Manka’s back, making the audience feel sympathetic for her and avoiding having to physically move closer to capture it on camera, interrupting the proceedings. The camera also automatically refocuses when it pans right to show the lawyer’s reaction to the scars on Manka’s back, and this shows that these cameras can move quickly, but also do not require professional camera operators to be used and capture good quality footage.

The near infinite storage space on these cameras allows for Longinotto to record for as long as is needed, and avoid interrupting events and proceedings to get a new camera. This is impactful as a documentary filmmaker, specifically an observational one, must avoid being a distraction for the participants of the film and interfering with the way that events play out. These lightweight and portable, accessible and compact digital cameras remain unobtrusive throughout the production process and prevent the film crew form being too involved in the events that they are documenting. The high quality of the camera footage also allows for the scars on Manka’s back and legs to be seen clearly by the audience, emphasising the severity of the aunt’s actions, and the zoom again helps here by allowing Longinotto to focus the audiences attention without moving herself. The long takes in this sequence also show to the audience that the footage here is unedited and untampered through editing, making the film feel more authentic and real.

Digital technology has had a significant impact on Sisters In Law. Lightweight, portable, compact cameras with near limitless storage space allow for long takes and for the filmmakers to stay unobtrusive in the films production, separate from events and avoiding interrupting proceedings. They also film in natural light conditions, and their non-directional, built in microphones allow for quality audio to be captured form all around an area without the need for a boom stick, which can be bulky, difficult to carry around and distracting for the film’s participants. Non-linear digital editing has allowed for Kim Longinotto to choose which clips she would want included in the final film, and what is not necessary, and make sure that events are kept in order and different audio and footage clips can be overlapped to make the film more entertaining and flow better, keeping only the most important clips in the final film.

Version 2:

Digital technology has impacted Sisters In Law (Kim Longinotto, 2005) to a large extent. Digital audio equipment, digital camera technology and non-linear digital editing have made it easier for Kim Longinotto to gain high quality footage and documentation of their subject without making any sacrifices during the production process.

In the opening sequence of Sisters In Law, the camera shows the view from inside a moving car, introducing us to the village the film will be set in. The digital camera stabilisation here captures the view from outside the window clearly, in good quality footage, and prevents the camera from shaking around and disrupting the quality of the footage. This is the first time that the portability of digital cameras can be seen in the film, as the camera being used here fits into the back of this small car. The first show we see of the office is a man parking his bike up. This shot, alongside those inside the office, were included in the final film after the editing process because Longinotto was able to film for long periods of time, capturing lots of footage of this village so that she could choose which clips to keep in the film. This is because the digital cameras hold near limitless storage, so that the filmmaker can film for as long as they want, as seen in the opening shot to this sequence, and decide what to include in the film in post-production. The lightweight nature and portability of digital cameras allows for Longinotto to film in these cramped office conditions without getting own the employees’ way, since the small camera can just be moved when needed. These digital cameras can also film in natural and low light conditions, as seen inside the office, without the need of obtrusive artificial lighting, and the end product of the footage is still high quality, as we can see the inside of the office clearly despite the lack of artificial lighting equipment.

There is also no need for a boomstick to pick up audio here, since there is a non-directional camera built into the camera. This means that there is no large audio device taking up space in the room, making sure that no employees are distracted by the camera crew since their small and portable equipment keeps them unobtrusive. This non-directional microphone also does not need to be aiming at a specific subject to capture audio from them, and just one digital camera can capture good quality audio from around the entire room without using bulky, heavy and obstructive equipment, as seen when a woman speaking in frame can be heard at the same time as a man who is sat outside of shot. Digital cameras are also cheaper than film cameras, so two were bought for Sisters In Law, and we can see this from how the film cuts between them both. This allows for more footage to be captured, as seen here from where the camera cuts from a shot of a woman setting up her desk in the office and answering a phone to a man in the lawyer’s office the next room over. But despite there being more cameras here, they still take up little more space as they are so small and portable. The audio from the office has also been edited to play over the footage of man in the lawyers office, so that we can hear the conversation playing out in one place but also be immersed in the environment from the clip of the office, making us, the audience, feel like we are really there. The digital camera can zoom in on objects of significance, such as the wife who is giving her story in the lawyers’ office, to focus the audience’s attention on them without physically moving the camera and distracting the participants. The compact nature of the cameras also leads to people sometimes forgetting that they are there and giving a genuine reaction to things, seen in Sisters In Law when the lawyer shouts “That’s what you men do” at the husband, which allows for more authentic aspects of these people and life in the village to be captured.

The near infinite storage space on these digital cameras, made possible by SLR memory cards, allows for Longinotto to record for as long as is needed and avoid interrupting events and proceedings to get a new camera or new film tape. This is impactful as a documentary filmmaker, specifically an observational one, must avoid being a distraction for the participants of the film and interfering with the way that events play out, seen in Sisters In Law when the lawyer has an outburst of anger against the aunt who beat Manka. These lightweight and portable, accessible and compact digital cameras remain unobtrusive throughout the production process and prevent the film crew from being too involved in the events that they are documenting by walking around or taking up space, reminding participants of their presence there. The high quality of the camera footage also allows for the scars on Manka’s back and legs to be seen clearly by the audience, emphasising the severity of the aunt’s actions, and the zoom again helps here by allowing Longinotto to focus the audiences attention without moving herself. The long takes in this sequence also show to the audience that the footage here is unedited and untampered through editing, making the film feel more authentic and real.

Digital camera technology has also had a significant impact on the production of the Manka sequence. The camera is small and compact, remaining unobtrusive in the lawyer’s small office as it takes up significantly less space than a film camera would. This prevents it from being distracting at any point for the participants in the documentary, such as the small child Manka, who does not look at it more than once throughout the whole scene. It also allows for Longinotto to point the camera at whatever is relevant in a specific moment, such as the lawyer, who she pans right to show as she gives a reaction to the aunt’s actions. The lawyer’s reaction, a brief moment of anger, was also made possible by the size and portability of the digital cameras, as the lawyer likely forgot that they were there and so gave a completely honest reaction in the heat of the moment. These digital cameras can also zoom, so Longinotto can bring the audiences specific attention to something, such as the aunt’s reaction to what she has done when it zooms in on her face as the lawyer questions her, or in this case the scars on Manka’s back, making the audience feel sympathetic for her and avoiding having to physically move closer to capture it on camera, interrupting the proceedings. The camera also automatically refocuses when it pans right to show the lawyer’s reaction to the scars on Manka’s back, and this shows that these cameras can move quickly, but also do not require professional camera operators to be used and capture good quality footage.

So overall, digital cameras, non-linear digital editing and digital audio equipment has had a significant positive impact on the production of Sisters In Law. They allow for Kim Longinotto to operate with a small camera crew and lightweight, portable cameras that remain unobtrusive and capture quality footage in natural conditions, with the digital memory card storage capability allowing for long, uninterrupted takes that make it possible to capture unexpected events during production, such as honest reactions from the participants. The digital audio equipment allows for the film crew to remain stationary as they record and captures what is needed, remaining unobtrusive by reducing the need for boomsticks, and the non-linear digital editing means that Kim Longinotto can take what footage she finds most essential to the film and include it in post-production to keep events in chronological order for the audience.

Component 2b: Documentary Film (Filmmakers’ Theories)

“How far does your chosen documentary demonstrate elements of one or more filmmaker’s theorises you have looked at?”

Plan:

Introduction – Very brief explanation of observational mode.

Paragraph 1 – Brief introduction to Longinotto’s style/theory and intentions – Manka sequence – How Longinotto’s style can be observed by the audience in this specific sequence (May be split into 2 paragraphs if needed).

Paragraph 2 – Divorce sequence – what signature directorial features the film displays, their effect on the audience.

Conclusion: Show that I understand documentary autership and how Longinottos style differs from others, such as Michael Moore, so briefly make reference to both of their theories.

Version 1:

Sisters In Law demonstrates elements of the observational filmmaker’s theory to a high degree. Bill Nichols described observational documentary as that which simply documents events in a “Fly on the wall” style that remains separate from characters and events, not interfering in the subject matter at any point or in any way. However, Kim Longinotto does not strictly adhere to the unobtrusive style of observational theory, as seen in her interference in the course of events in the divorce sequence.

Kim Longinotto’s Sisters In Law is in observational mode, which means that she keeps her involvement in the events of the film at a minimum and captures events as they play out with our interviews for context. She intends to capture inspiring stories of women who fight against patriarchal and traditional societies that favour the men in it. In the Manka sequence, this can be seen in how at the beginning of the scene, when the man and Manka enter prosecutor Vera’s office, there is no contextual information given to explain why they are there or who they are. Longinotto stands out of shot and records the conversation, but also directs the audiences attention on what is important by zooming in on certain things, such as when the camera zooms in on Manka’s face as the man explains how he found her, bringing our attention to her bloodshot eye. This effects the audience by showing them how small and scared Manka looks, causing us to feel sorry for her. Since the film is in observational mode, there is no manipulative editing or cinematography to influence the audiences attention, but Longinotto keeps certain things in frame to convey information to the audience that may impact their opinion. Longinotto also remains in observational mode as she stays completely uninvolved in the scene, not influencing events in any way, which is an important element of the observational theory. She also keeps an objective stance on things, as an observational documentary filmmaker would, and aims to let the audience come to their own conclusion. But she also shows Vera to be the good and moral character in this situation, panning right to her to show her dismayed reaction at the description of how Manka was beat by her Aunty.

When the Aunty is brought into the office and is questioned by Vera, the camera stays on her, but occasionally zooms out to create a two or three shot of the aunty, Manka and the man who brought Manka to the station. This brings to the audiences attention the man’s disappointed reaction at the woman’s confession and Manka’s look of confusion and concern. These reactions are not scripted, as the documentary is in observational mode, but Longinotto records them to make it clear to the audience that the aunty is in the wrong here and the man and Vera are in the right, demonstrating the element of recording events as they play out, acting almost like a “fly on the wall”, in observational documentary. As Manka’s scars are revealed to Vera, the camera zooms in on them to bring the audiences attention to them. This shows the severity of the aunt’s actions, but, as it is in observational mode, the film does not point out how cruel and harsh this is, only showing the audience all the important parts of this situation so that they can get a full picture and come to their conclusions, an important element of observational documentary film.

The divorce sequence also demonstrates elements of observational documentary film. The divorce sequence begins with an establishing shot of the village to give the context in which the following scene is to play out, only providing information to the audience in the form of visual cues. As the filmmaker cannot involve the self in the film, seen in Sisters In Law in how Longinotto is never in frame or says anything to the participants in the film or directly to the audience, they have to provide information to the audiences through documenting certain things. When we enter the courtroom, there is a close-up of the husband who wants prevent the divorce to instantly remind the audience of who we are following. As the scene continues and the woman who wants the divorce is questioned, the camera zooms in on her face to shoe her fear and desperateness, creating sympathy for her in the audience. Another important element of observational documentary is the filmmaker staying so uninvolved in the scene that characters forgets that they are being filmed and act as they would naturally, without playing to the camera. This can be seen in the divorce sequence in how the men of the court council speak to the woman in a disrespectful way, almost threatening to deny her divorce and letting the man beat her to death. This honest reaction only occurred because the men forgot that they were bing filmed and spoke in a way that they would of when not on camera. This is an important element of observational documentary film, remaining so uninvolved in the subject matter that participants act as they would if not on camera, evoking honest reactions and getting a full picture of the situation for the audience.

Kim Longinotto’s observational theory of filmmaking is very different from others documentary filmmakers, such as Michael Moore, who would involve himself in his project a lot and give his own opinion and try t influence that of the audiences. Longinotto simply records events as they play out and remains uninvolved in the subject matter, allowing the audience to come to their own conclusions, serving more to show and educate than inform and dictate. Sisters In Law demonstrates elements of the observational filmmaker’s theory by the filmmaker remaining uninvolved in events, showing the subject matter in a way that is objective and allows the audience, ultimately, to make their own decisions and opinions, and showing what is most important to the film without giving any context to the audience.

Version 2:

Sisters In Law demonstrates elements of the observational filmmaker’s theory to a high degree. Bill Nichols described observational documentary as that which simply documents events in a “Fly on the wall” style that remains separate from characters and events, not interfering in the subject matter at any point or in any way. However, Kim Longinotto does not strictly adhere to the unobtrusive style of observational theory, as seen in her interference in the course of events in the divorce sequence.

Kim Longinotto’s Sisters In Law is in observational mode, which means that she keeps her involvement in the events of the film at a minimum and captures events as they play out with our interviews for context. She intends to capture inspiring stories of women who fight against patriarchal and traditional societies that favour the men in it. In the Manka sequence, this can be seen in how at the beginning of the scene, when the man and Manka enter prosecutor Vera’s office, there is no contextual formation given to explain why they are there or who they are. Longinotto stands out of shot and records the conversation, but also directs the audiences attention on what is important by zooming in on certain things, such as when the camera zooms in on Manka’s face as the man explains how he found her, bring our attention to her bloodshot eye. This effects the audience by showing them how small and scared Manka looks, causing us to feel sorry for her. Since the film is in observational mode, there is no manipulative editing or cinematography to influence the audiences attention, but Longinotto keeps certain things in frame to convey information to the audience that may impact their opinion. Longinotto also remains in observational mode as she stays completely uninvolved in the scene, not influencing events in any way, which is an important element of the observational theory. She also keeps an objective stance on things, as an observational documentary filmmaker would, and aims to let the audience come to their own conclusion. But she also shows Vera to be the good and moral character in this situation, panning right to her to show her dismayed reaction at the description of how Manka was beat by her Aunty.

When the Aunty is brought into the office and is questioned by Vera, the camera stays on her, but occasionally zooms out to create a two or three shot of the aunty, Manka and the man who brought Manka to the station. This brings to the audiences attention the man’s disappointed reaction at the woman’s confession and Manka’s look of confusion and concern. These reactions are not scripted, as the documentary is in observational mode, but Longinotto records them to make it clear to the audience that the aunty is in the wrong here and the man and Vera are in the right, demonstrating the element of recording events as they play out, acting almost like a “fly on the wall”, in observational documentary. As Manka’s scars are revealed to Vera, the camera zooms in on them to bring the audiences attention to them. This shows the severity of the aunt’s actions, but also influences the audiences opinion, causing them to feel immense sympathy for Manka and anger towards the aunt, and observational mode typically avoids influencing the audience, rather only showing the audience all the important parts of this situation so that they can get a full picture and come to their conclusions, an important element of observational documentary film.

The divorce sequence also demonstrates elements of observational documentary film. The divorce sequence begins with an establishing shot of the village to give the context in which the following scene is to play out, only providing information to the audience in the form of visual cues. As the filmmaker cannot involve the self in the film, seen in Sisters In Law in how Longinotto is never in frame or says anything to the participants in the film or directly to the audience, they have to provide information to the audiences through documenting certain things. When we enter the courtroom, there is a close-up of the husband who wants to prevent the divorce to instantly remind the audience of who we are following. As the scene continues and the woman who wants the divorce is questioned, the camera zooms in on her face to show her fear and desperateness, creating sympathy for her in the audience. Another important element of observational documentary is the filmmaker staying so uninvolved in the scene that characters forgets that they are being filmed and act as they would naturally, without playing to the camera. This can be seen in the divorce sequence in how the men of the court council speak to the woman in a disrespectful way, almost threatening to deny her divorce and letting the man beat her to death. This is an important element of observational documentary film, remaining so uninvolved in the subject matter that participants act as they would if not on camera, evoking honest reactions and getting a full picture of the situation for the audience. However, it can also be argued that these men only favoured the wife in the verdict because Kim Longinotto moved herself to remind them of her presence, having an influence on events and causing them to play out in a way that they might not have without her interference. This is an example of how Longinotto’s personal beliefs can cause her to impact the events in her film in a way that observational filmmaking typically tends to avoid, so the film does not show demonstrate all elements of observational theory, since intervention in events is not something an observational filmmaker would usually do.

Kim Longinotto’s observational theory of filmmaking is very different from others documentary filmmakers, such as Michael Moore, who would involve himself in his project a lot and give his own opinion and try to influence that of the audiences. Longinotto simply records events as they play out and remains uninvolved in the subject matter, allowing the audience to come to their own conclusions, serving more to show and educate than inform and dictate. Sisters In Law demonstrates elements of the observational filmmaker’s theory by the filmmaker remaining uninvolved in events, showing the subject matter in a way that is objective and allows the audience, ultimately, to make their own decisions and opinions, and showing what is most important to the film without giving any context to the audience. However, Longinotto does interfere in the events shown in the divorce sequence, letting her own stance on the situation affect her execution of the observational filmmaker’s theory, manipulating the audiences feelings by showing Manka’s scars in the Manka sequence, and influencing the events of the film by making her presence known in the divorce sequence. Therefore, Sisters In Law does not demonstrate all key elements of observational theory, since the filmmaker sometimes strays from the method of observational filmmaking.

Wild Tales: Representations

“How far do each of the films that you have studied represent key characters in ways that reinforce or challenge the audiences expectations?”

Plan:

Introduction – overview how men and women are reflected in how Romina and Ariel act, then describe how the way they act reinforces our expectations but goes on to challenge them later on.

1 – Describe how Ariel and the chef is represented in a way that reinforces our expectations.

2 – Describe how they are represented in ways that challenge our expectations.

3- Describe how Romina and Ariel’s mistress are represented in ways that reinforce expectations.

4 – Describe how they are represented in ways that challenge expectations.

Conclusion – Summarise previous points and explain, link to overall question.

Version 1:

Wild tales represents key characters, who are used to symbolise the groups of men and women, in ways that, at first, reinforce audience expectations. However, as the film goes on, these representations change in ways that communicate themes of revenge and taking power by challenging audience expectations.

As one theme of the wedding sequence is gender inequality, the key male characters in that scene, Ariel and the chef, are at first represented in ways that reinforce the audiences expectations. Through performance, Ariel is extremely happy and exited during the wedding, with a wide grin on his face and happily greeting his friends. He carries himself in a proud and confident demeanour, and we see him touch his mistress, which shows his audacity and belief that he can get away with anything. His power complex and smugness are emphasised by Romina’s hopeless and distraught expression, amplifying the psychological damage that his actions have had on her. His costume is also extremely straight and tidy, showing his obsession with his appearance, and he is never shown at eye-level when in frame with Romina, showing his how he has taken advantage of her and gotten away with it. The chef is different, and at first challenges the audiences expectations by being kind and comforting to Romina, as seen in how he is kept eye-level; with her when in frame together, but his seemingly sentimental attitude is shown to be a rouse when he is seen leaking his story to his co-workers. This representation reinforces audience expectations of the character as he is a male, and the lack of many other male characters in this scene and Ariel’s affair show that a clear theme of this story is negative masculinity and gender inequality.

As the story goes on though, Ariel begins to be represented in a way that challenges audience expectations. His proud and perfect demeanour fade away into panic as he pleads with Romina to remain happy until the end of the wedding, and his facade completely cracks and a terrified expression comes onto his face. He also leans down as he pleads with her. This reflects how she is already bringing him down to her level, and he is spiralling in his attempt to maintain his perfect appearance, and is willing to try and emotionally manipulate her, like the chef does, to make it seem like he has a perfect and happy marriage. By the end of the story, Ariel has completely lost all composure, letting go of his proud and independent masculine demeanour, being cradled and comforted by his mother. He is below Romina’s eye level here, his previously perfect uniform is disheveled and he is is in a mess of tears, showing that she has completely won over him and he no longer has any power over her, and she has taken revenge. This representation challenges audience expectations by contrasting how we expect Ariel to act from the way that he is built up as a proud and masculine figure, certain in himself and exploitative of his wife’s ignorance. So, seeing him represented as weak and fragile challenges our expectations.

Romina, a key character, is a reflection of women who are exploited by un-faithful husbands, which creates the expectation of her being timid and weak. She is at first represented in a way that reinforces the audiences expectation through cinematography and performance. At the beginning of the scene, Romina is extremely exited and has an almost plastic grin plastered onto her face. This obviously exaggerated emotion portrays her as ignorant and perhaps even gullible, which we would expect from how Ariel also acts like a stereotypical male. She is also represented as hopeless and emotionally devastated when she realises that her husband has had an affair, as she is shown in an extreme close up, with an panicked expression and everything else other than her face out of focus, reflecting her feeling of isolation and helplessness in that moment. This represents Romina as a weak and fragile character, and continues as she flees the party in a desperate panic attack, crying and breaking down as she runs away. This makes us sympathise with her as she is obviously distraught, but also reinforces our expectations, as so far she has been represented as naive, so an emotional shock like ethics would have such an expected impact on her.

However, Romina is also presented in ways that challenge the audiences expectations, to a large extent too. As Romina threatens to ruin Ariel’s life on the roof, her sadness transforms into anger and fuelled obsession as she screams with hate, and looks down her nose at him. Here, Ariel is also shown to be panicked and terrified by her outburst, showing that she is growing to stand up for herself, surprising the audience as it is such a sudden change in the couples power dynamic. As the wedding sequence continues, Romina assumes more influence over Ariel, which challenges audience expectations to a large extent. She is kept above his eye-level, reflecting her new-found power over him, and her previously beautiful and white dress is now spattered with blood and her make-up ruined by tears. This change in her previously perfectly organ used demeanour and appearance reflects her change in personality and sudden obsession with revenge, abandoning public image in favour of ruining Ariel’s life as he ruined hers. This sudden seizure of power and independence is a drastic change from the giddy and over the top performance and perfect appearance of Romina at the start of the story challenges the audiences expectations of how Romina acted as a character.

Wild Tales represents key characters in ways that initially reinforce audience expectations, but as power dynamics change and the themes of the story become more clear, our expectations are challenged to a far extent. Characters fit or stray from audience expectations through cinematography, performance and mise-en-scen, and these reflect the changes in their character from how they were introduced at the beginning of their arcs, and from that they are represented in ways that heavily reinforce audience expectations and ways that suddenly challenge them as a character progresses and changes.

Wild Tales: Aesthetics

“Discuss how aesthetics are used to communicate themes in Wild Tales. Make detailed reference to particular sequences in your answer”.

Essay Plan:

Introduction – Each story has its own aesthetic. Mention this then talk about how each one communicates the theme intended in each story.

Middle – Talk about wedding sequence. Talk extensively about the techniques used, how they communicate themes, what said themes are. After two paragraphs move onto diner sequence, and talk about how aesthetic differs from previous one, and repeat process.

Conclusion- Explain how both sequences use their individual aesthetics communicate their individual themes.

Version 1:

Each individual story in wild tales has its own specific aesthetics that are used to communicate the themes of each story, which differ form the others. Cinematography, mise-en-scen, performance and sound all combine to create the aesthetic, and through these the themes of each story can be inferred.

The wedding story has a clear aesthetic that sets it apart from the other story’s. The sequence begins with an extremely large and filled wedding party, adorned with expensive furniture and decorations. The mise-en-scen here gives the scene a clear opulent aesthetic, communicating the story’s theme of wealth. When the newly-weds enter the scene, the camera pushes in on them and keeps them centre frame to symbolise that they are the centre of attention and events, as is also shown through the lavish red carpet they walk in on, and the crescendo in the diegetic compiled score. When they reach their family and friends, the couple immediately separate and talk to their individual groups. We see, through performance, the couple seem extremely happy, and they have almost plastic seeming smiles on and act in stereotypical ways, perhaps as they would be expected to act at a wedding. The bride screams in joy as she runs up to her friends, and the groom shakes hands and laughs with his friends. The characters act as if their movements and expressions are completely scripted, which gives the scene an aesthetic where the characters do not act as themselves. The couples obvious separation is also shown from the shot-reverse shots between the bride and groom, whose backs are facing each other. This communicates the theme of superficiality in the story, but more specifically the couple’s fake affection for each other, which is apparent in how they never speak to each other with actual respect or adoration throughout the entire scene.

The entire ballroom is filled with flashing lights and bright and dark costumes. The contrast in the mise-en-scen and cinematography is extremely sharp, symbolising the differences between how the men and women act in this story, communicating the theme of gender inequality. This is also shown through how Romina, the bride, is kept at eye level throughout the scene, whilst her husband, Ariel, whenever in frame with her, is shown as above her via low-angle shots. This represents his expectation of being a stronger figure than his wife, playing into the theme of gender inequality. Romina’s inability to stand up to the actions of her husband are also shown when she calls his mistress, which is shown through a shot where Romina is stood in the backdrop of the shot, whilst the woman is at the front, far from her, symbolising Romina’s weakness and helplessness. This is shown to have changed at the end of the story when Ariel begins to break down, letting go of his happy and perfect facade, crying and curling up into a ball on the floor. He is then shown as beneath Romina, as the camera looks up at her from a low-angle shot, showing how she now stands over him, communicating the theme of overcoming gender stereotypes and taking power, the story arch that Romina goes through.

The theme of superficiality is also shown through the scenes tense and uncomfortable aesthetic, which is accomplished through sound as-well as performance. This is seen at the end of the scene when Romina re-enters the ballroom and the music stops playing. All of the guests and Ariel have concerned expressions on their faces as they watch on at the scene Romina is making, and this sharp contrast from their previous joy emphasises the seriousness of the moment, and communicates the theme of superficiality, combined with the lack of music that symbolised the attempt at hiding the couples obvious disdain for each other. The couple lavished their wedding in expensive jewellery and furniture and loud music and happy faces, a combination of sound, performance and mise-en-scen, as when these all take a sharp contrast to make the scene feel more serious, it communicates the theme of superficiality being broken by revenge and obsession.

The theme of revenge is communicated through mise-en-scen and performance and cinematography, which give the scene a violent and brutal aesthetic. At the beginning of the scene, Ariel towers over his wife, grinning madly knowing that he has gotten away with cheating on her. As Romina becomes aware of his actions and exposes him, she becomes more loud, clumsy and out-going, whilst Ariel beds down to be eye-level with her, and his voice becomes evidently uncomfortable and panicked. At the end of the scene, Romina stands above her husband, staring down at him, and is shown to have won over him through the low-angle shot of her looking at him. Her dress is also covered in blood, symbolising how her wedding, and chance at a perfect, happy, if pretend, life has been ruined by her obsession with revenge. Ariel’s costume also becomes rugged and messy here, symbolising him letting go of his facade of happiness in his panic and desperation to keep Romina quiet and submissive to him. When Romina spins around with Ariel’s mistress, she and her are kept in focus, whilst everything else is kept out of focus. This represents Romina’s obsession with getting revenge on the woman who ruined her marriage, and nothing else matters to her in that moment.

The themes of superficiality, revenge, obsession and gender inequality are communicated through the wedding sequences aesthetic. The aesthetic has a sharp contrast which reflects the differences between men and women in the story, and the way that the characters performances and costumes change throughout the scene reflects the theme of superficiality. Mise-en-scen, cinematography, and performance and sound create the scenes aesthetic, and therefore communicate the themes intended in the wedding sequence.

Pan’s Labyrinth: Representation

“How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audiences expectations?”

Vidal (left) is made to represent that evil fascist regime of the Civil War. Ofelia (right) represents that good in the film, and thus a direct contrast to Vidal and his faction.

Essay Plan:

– Vidal represents the fascist regime in the war so I will focus on an analysis of his faction instead of him specifically.

– I will do the same for Ofelia as she represents the moral and good forces in the film, so I will avoid specific analysis of her and more so the faction she stands for.

– The soldiers are shown to be evil primarily through performance and mise-en-scen, but Vidal is made to be a dominant and intimidating presence via cinematography also.

The good faction directly contrasts the evil via mise-en-scen and performance, but specific characters like Ofelia and Mercedes are shown as good people via cinematography, like Vidal, also.

Version 1:

Cinematography, sound, editing, mise-en-scen and performance are all very important in creating representations that reinforce the audiences expectations. Characters that represent the good and evil factions are represented as such via the fundamental aspects of film form that make the audience see them in a certain way.

In the fig tree sequence, Vidal and his men are established as cunning and ruthless members of a fascist regime through mise-en-scen, sound and cinematography. As he and his men take off on horse-back, the non-diegetic composed score quickly picks up into a dramatic and intense mixture of trumpets and drums, signifying a grand entrance. This symbolises the patriotism and pride he and his troops have, and also makes them seem like a more intimidating and imposing presence, reinforcing the audience expectation of them as evil fascists, likely due to the context of the Spanish Civil War. He and his men are also represented as evil via mise-en-scene, as their uniforms are extremely neat and tidy, organised and decorated. They show great patriotism amongst the army, and also serve as a direct contrast to the clothes worn by the good characters in the film. They symbolise the wealth and strict protocol of the army, while the more ragged and dark-coloured clothes of the protagonist show that they are poor, and more honest and kind. Performance is also used to build an imposing and obsessed representation of the antagonist forces in the film. This is seen in how Vidal seems completely concentrated on the abandoned campsite once he reaches it, and stares intently off into the woods in search for the rebels.

In this same sequence, the forces of good are shown as a direct contrast to the forces of evil, represented through mise-en-scen and sound to portray them as moral and just characters. When the scene cuts from the Captain and his men to Ofelia leaving the mill, the non-diegetic composed score picks up into a fast-paced mix of horn instruments that give the scene a light and happy feel, reflecting Ofelia’s feelings of excitement and adventure. This gives her character a more welcoming demeanour, as opposed to the intense music that plays as Vidal and the troops leaves the camp. Ofelia’s outfit is also much more quaint and simple than Vidal’s, made up of much lighter and warmer colours that fit into the scenery of the woods more. This represents the difference between her and Vidal, as she is represented as a person less obsessed with her appearance and removing rebels, but instead going on a fantastic quest. She does not move with aggression or intensity, like Vidal, but a calm and peaceful pace, with a content yet curious look on her face, a direct contrast to the intensity with which Vidal and his men search for rebels. This is how the key characters are represented in ways that reinforce the audiences expectations, but it also challenges them by representing the rebels in a way that puts them into a positive light. From contextual knowledge, the rebels that the fascist nationalists were hunting were communist, and used guerrilla style combat methods to fight the nationalists. When they are showed at the end of Vidal’s side of the scene, they are dressed in dark and brown clothes that let them blend more into the environment, and these more simple and humble uniforms make them seem more kind and less boastful than the soldiers. The non-diegetic composed score picks up in the mix at their reveal, and has a light yet dramatic tone, that is less dark and foreboding than that what plays when the soldiers ride away, and so portrays the rebels as forces of good who directly oppose the forces of evil. Therefore, the film uses mise-en-scen and sound and performance to create representations of key characters that challenge and reinforce the audiences expectations.

In the first shaving sequence, mise-en-scen, performance and cinematography are all used to represent Vidal, who represents the forces of evil, in a way that reinforces the audiences expectations of a fascist Captain. As he shaves, the various items scattered around his room symbolise his wealth, such as the gramophone, razor, and cigarette, which also provides smoke that gives him an intimidating appearance. These all show his control over resources and rations, and is also shown by the fully stocked log shelves and large fireplace, mug, and table in the dining room. The Captain also seems completely focused as he shaves, looking intently in the mirror and taking great care as he prepares for and then shaves himself. This, combined with the diegetic music playing from the gramophone, which has a classical and traditional tone, implies that Vidal sees himself as a sort of patriotic hero, and views this shaving as a ritual of masculinity, basking in his authority. This reinforces the audiences expectations of how fascist soldiers of high ranking likely viewed themselves during the civil war.

We also see the difference in uniform and representation of Vidal through cinematography as ways that the audience’s expectations are reinforced. When Vidal is in the dining room, he polishes a very clean and expensive looking boot, symbolising his wealth and attention to detail when crafting his appearance. Hid uniform is blue, which matches the colour palette at night, symbolising his control over the environment. Even as he polishes this boot, he seems extremely intent, as if it was the most important thing to him in that moment, showing his obsession with how he presents himself as a Captain. When Mercedes enters, her uniform is almost not a uniform, as it is of simple brown and green colours, similarly to the rebels and Ofelia, showing where her true allegiance stands, but also representing her as a more humble and hipness character than Vidal. It also shows the difference between the traditional roles of women and men in the film, which from context, we know were very prejudiced and often put women in lower roles whereas men had higher roles of authority and power which is shown through cinematography in this scene. When Vidal stands, there is an over the shoulder shot from behind Mercedes of him putting his hand on her shoulder. This keeps Mercedes at eye level but is a low angle shot facing up at Vidal, showing how much taller and intimidating he is than her. This also represents his authority, obsession with maintaining control through fear, and authority over Mercedes as a Captain. However, this traditional expectation of the characters is challenged when Mercedes stands up to Vidal, when she says that the rabbits are too young to be cooked. This does not sound like much, but no one else in the film, even the doctor, has shown defiance to the Captain, instead saying what he wants them to say and following his lead. However, the Captain is shown more in this scene, and so he is represented as more powerful and intimidating than Mercedes, who represents the good in this scene.

To a large extent, Pan’s Labyrinth uses cinematography, sound, and mise-en scen and performance to represent key characters in ways that reinforce and occasionally challenge the audiences expectations. The audience is made to view characters in certain ways that may differ from or, mostly, confirm their pre-conceptions of them through the tone of the non-diegetic composed score, cinematography that frames them in ways to convey their character traits, performances that convey emotion and psychology, and mise-en-scen that contrasts key characters and the forces they represent.

Pan’s Labyrinth: Aesthetics

“Discuss how aesthetics are used to communicate themes in your two chosen films. Make detailed reference to particular themes in your answer.”

Essay plan:

– Guillermo Del Toro uses many different unique methods of filmmaking to create a dark and fantastical aesthetic in pan’s labyrinth. – For this essay on aesthetics in pan’s labyrinth I will discuss the key elements of film form in certain key sequences from the film, and how these are combined to create an aesthetic. – Specifically the first shaving sequence and first bedtime sequence, and for these I will go into detail about how cinematography, sound, editing, mise-en-scen and performance are used to combine and create an aesthetic, and from there how this communicates themes. after these two sequences are done I will expand onto an overview on the whole film. – Here I will simplify how Del Toro uses film form to create aesthetic, using what I discussed in detail in the sequences as evidence for how the entire film is given an aesthetic, and from here how this is used to communicate themes. (The essay question is on pan’s labyrinth and wild tales but I am only discussing pan’s labyrinth)

Essay: Version 1.

In Pan’s Labyrinth, the film has a dark and mystical aesthetic that creates and emphasises themes of the supernatural, mystically, fantasy and violence. They are predominantly created via the films unique mise-en-scen and cinematography, but all fundamentals of film form are used by the director, Guillermo Del Toro, to communicate these themes.

For the first bedtime sequence, Del Toro mostly uses cinematography and editing to give the scene a fantasy aesthetic that evolves into a dark and intense tone. The scene begins in Ofelia’s mothers’ room. This is shown by a tracking shot of Ofelia that pan’s to the right to reveal the room. The room is made to look dark and gloomy via the silvery and blue-tinted colour pallet used in the film at night. This creates a dark and still environment, and also symbolises the Captain’s control on the setting, as his uniform is blue as-well. The scene is given a slow and calm pace to immerse the audience in the dialogue by keeping the camera on Ofelia and her mother and not cutting. The camera leaves this shot via a hidden cut when it pedestals down into the darkness in the sheets. When it reemerges it is showing the inside of Ofelia’s mothers womb. This makes the movement through the scene feel fluid and constant, creating a dream-like feeling and fantastical aesthetic. This communicates the themes of imagination, and the conflict between fiction and reality in the film.

The camera continues this smooth and gliding movement pattern as Ofelia tells a fairy-tale, as seen when it pans to the right, exiting Ofelia’s mothers’ womb and entering the mountain-top setting. This makes the audience feel like they are in a dream, symbolising Ofelia’s undying imagination and the fairy-tales that she believes in, helping us to understand how she imagines these stories. The hidden transition is also made more smooth by the red colour of the womb matching that of the sky in the mountain shot, making the audience not even realise a cut had been made, reinforcing the dream-like quality of the sequence, and also giving the environment a dark and sinister aesthetic with the deep colour of blood. The colour palette once again changes to a dark and silvery-blue as the camera pedestals down from the mountain top, making the transition back into the real world all the less noticeable, creating a dark and gloomy aesthetic that makes it hard to differentiate the story from the reality in the film, communicating the theme of Ofelia not knowing the difference between reality and fiction.

Mise-en-scen is also used to create aesthetic in the bedtime sequence. For example, Vidal’s uniform is pristine and organised , decorated and clean. This gives him a sinister and cruel aesthetic, showing the themes of his obsession with appearance, expanded on more in the first shaving sequence, and his dedication to patriotism for the fascist regime he serves under. The performance by him and his soldiers emphasises this, since his posture is upright and assertive, dominant, whilst his men closely follow him, staying behind him and completing his commands immediately. This shows his authority and ranking above everyone else. The theme of Vidal’s violence is also enforced further when his men look on in visible disgust at the murder of the farmers, emphasising the effect he has on people, and his lack of empathy. This gives Vidal a grim and cruel aesthetic as a character. When the doctor is talking to Vidal, Vidal is shown through low-angle shots which show the height contrast between him and the doctor, making the Captain seem like a much more imposing and intimidating figure. The gears and mechanisms shown in the backdrop of the basement give the scene an almost steampunk aesthetic, which emulates the cold heartless and robotic nature of Vidal, communicating the theme of cruelty and un-caring tyranny of Vidal.

When Vidal confronts the farmers, the camera stays on an over-the shoulder shot of them looking at him. This shows off their concerned expressions and postures, Vidal’s height compared to theirs, and also builds suspense as we see him searching their bags. This adds to Vidal’s powerful but evil and imposing aesthetic, showing the theme of his violence and indifference to innocence. The camera cuts between a close high-angle shot and a close low-angle shot as Vidal beats the farmer’s son to death. This rapid editing makes the scene more intense, amplifying the shock of Vidal’s violence. The camera angles place us in the position of Vidal to bring the audiences attention to the brutality, and the farmer’s son to show Vidal’s calm and collected expression as he commits this act. This distressing and memorable scene adds to Vidal’s aesthetic, making him a cruel and sadistic character as-well as a collected and cunning commander. This communicates the theme of Vidal’s two-sided character, who is both calm and authoritative, yet has the capacity to be extremely violent and is prone to outbursts of rage.

The first shaving sequence uses mise-en-scen and performance to create the aesthetic of Vidal’s character and portray the themes involving him and the relationship he has with other characters, such as the wealth divide. As Vidal looks into his mirror, we see how intent and concentrated he is, as-well as the way that he confidently strolls around his room and carefully prepares his shaving equipment. The lack of hair on his face, combined with the immense care with which he is going about such a simple task as of shaving, give the character a sinister and powerful aesthetic, which reflects the themes of Vidal’s pride and self-obsession

As Vidal sits in the dining room, mise-en-scen is used to represent his control over the wealth and rations of this part of Spain, and his attentiveness to his presentation. He sits, polishing his boots with full attention, reflecting his obsession with his appearance, and his tidy and decorated uniform represent his patriotism as a Captain, and also his careful attention to his presentation. When Vidal stands and places his hand on Mercedes’s shoulder, an over-the-shoulder shot shows how much taller he is than her, making him a more intimidating and imposing presence to the audience, giving him a threatening aesthetic and communicating the theme of his power over the environment and those in it. The kitchen is also designed to reflect his power, as seen in the completely stocked space for the fireplace, which is very large, and the very long dining table. These represent the Captain’s wealth and power over rationing, and also effects the pale-man’s dining room. His large coffee mug also contributes to the Captain’s powerful but corrupt aesthetic as a character which delivers the theme of the wealth divide between the peasantry and nobility/government in Spain during the Civil War. The theme of Vidal’s dominance and authority is also shown through low-angle shots that face up at him. This makes him seem like a much more giant and physically imposing figure than those like Ofelia or Mercedes, who are kept art eye-level.

In Pan’s Labyrinth, Guillermo Del Toro uses aesthetics to communicate certain themes, mostly via mise-en-scen and cinematography.. The first bedtime sequence is best for analysing how he can give a certain scene and environment an aesthetic, and the first shaving sequence shows how he can give characters aesthetic and can deliver themes through them and their surroundings. These aesthetics deliver certain themes such as wealth divides, the supernatural and the line between reality and fiction. This is done through cinematography that makes the audience see a character in a certain way, editing that creates a sense of fluid movement through a scene, and mise-en-scen that reflects themes and symbolises messages to the audience.