In the film Blade Runner by Ridley Scott, the Mise en Scene works as a metaphor for a post-apocalyptic world and the sense of dehumanization of the future on several different levels.
The first aspect of Mise en Scene that stands out significantly is the interesting lighting scheme. When Rick Deckard is walking through the abandoned parking complex, a constant beam of light is searching through out the set. This occurs several times like in Deckard's apartment when Air Blimps pass by shining in light. This gives the audience the feeling that everyone is being watched and nothing is sacred. In the future humans have lost all privacy.
Towards the end during the gymnast robot battle, Deckard arrives at the robot makers house. Here he finds abandoned, half built robots as well as personified objects resembling toys. The set design creates the concept that in the future there is a fine line between what makes a human being and what makes a robot and somehow that line has become blurred. It also develops the sense that people who normally wouldn't attract friends (the robot maker) can a find a personal connection in robots themselves.
Another element that solidifies these themes is the acting through out the film. There is an endless debate about whether or not Deckard's character is a robot as well. Harrison Ford brings ambiguity to his character by way of back story. Either Deckard is trained as a warrior or he is a robot, which explains his lack of emotional response.
Though the Mise en Scene in Blade Runner is widely praised for these vary films, it is because it is a classic example of how effective these elements can be. Every thought of this "Future World" is well planned and well designed and when it all comes together it creates not only a believable story but a film touching on many themes and issues in our own society.
Wednesday, September 30, 2009
The Cabinet of Dr. Caligari
The film, The Cabinet of Dr, Caligari, immerses itself in rich, dark mise-en-scene. Aside from its black-and-white appearance, the movie uses heavy shadows and sparse lights to create a dreamlike environment that constantly makes the audience wonder whether the events that are occurring on screen are one of the character’s dreams. Since half the movie takes place in a bizarre mental hospital, the overall environment of the film showcases dead, stark trees, howling wind, harsh rain and colossal gothic structures.
The set design in the film fully completes the film’s mise-en-scene. Every single set is built by hand and each set is carefully thought out and crafted like a piece of art. This film so very heavy handed with its German Expressionist influence in its set design it almost a tribute every time a character plods across the warped floorboards. The costumes in the film add the eerie mise-en-scene that the environment builds. Many of the characters wear dark colors in flowing costumes and saturated make-up to accentuate the mood and feel of the piece.
Since the film is silent, the music played during the movie adds to its stark, creepy environment. The title cards, which are written in scratched cursive, complete the experience because any information that is thrown directly at the audience in text form is crafted to fit the mood.
Mike Curcio
MEMENTO
Memento had terrific mise-en-scene, particularly in the color department. Throughout the film, events in the past going forward are treated to glorious black and white, while events in the present going backward are in color. However, as a step even further, the film sticks to a particular palate. The main character wears a tan suit with a blue shirt, thus his surroundings reflect this. His tan apartment building has blue doors etc.
There’s definite significance in the fact that half of this film is in black and white. The black and white segments are scenes shown in order. The color scenes are in reverse. I imagine this is because the color scenes are technically in the past, further into the past than the color scenes are anyway. The color scenes have more onscreen action and plot progression and are really the meat of the movie. More colorful and lively than the black and white scenes, these parts are more action based or soothing moments. The black and white scenes are tension driven and explanatory. The mood is much more intense, brooding and noir.
Eventually both sets of scenes collide into the climax, and chronological center of the film. At this moment we are slid from the past into the quasi-present only to receive a set of shocking twists. That aside, it’s quite a bookend. The film opens with the truck in color and arrives to the climax in black and white. Then the film winds down and the truck backs out in color.
BY SAM FRIEDMAN
There’s definite significance in the fact that half of this film is in black and white. The black and white segments are scenes shown in order. The color scenes are in reverse. I imagine this is because the color scenes are technically in the past, further into the past than the color scenes are anyway. The color scenes have more onscreen action and plot progression and are really the meat of the movie. More colorful and lively than the black and white scenes, these parts are more action based or soothing moments. The black and white scenes are tension driven and explanatory. The mood is much more intense, brooding and noir.
Eventually both sets of scenes collide into the climax, and chronological center of the film. At this moment we are slid from the past into the quasi-present only to receive a set of shocking twists. That aside, it’s quite a bookend. The film opens with the truck in color and arrives to the climax in black and white. Then the film winds down and the truck backs out in color.
BY SAM FRIEDMAN
Tuesday, September 29, 2009
Mise-En-Cine - The Puffy Chair
The visual style of The Puffy Chair could easily be perceived as amateurish, but I think it goes deeper. The film employs almost entirely handheld shots, with few exceptions. Often times the frames in the movie look thrown together, and sloppy. The camera movements are awkward and jerky, and the camera is always resetting focus mid shot. A good example of it is the scene where Emily and Josh, the protagonist and his love interest, decide they should break up. The frame jumps back and forth between the two characters, lagging awkwardly at the end of each piece of dialogue. The reason the shooting style works is because of the nature of the characters, and where they are in their lives. The film is about a trio of lost and confused twenty something year olds. Their entire world is changing. They have these new scary obligations that come with growing up, yet they have not really matured to that level; their obligations are so big and they can barely take care of themselves. As you watch you understand that they really have no idea how to deal with any of this. They are awkward and scared, giving them an almost pubescent quality. This is clearly evident in the way the film is shot. As you get to know these characters, the camera constantly racks in and out of focus while staying on the subject. It’s like these changes in focus tell us that we are getting some veiled insight into who the characters are, and where they are going to end up.
Mise En Scene Legends of The Fall
Legends of the Fall directed by Edward Zwick is a drama about betrayal, family and corruption. This film is a modern tale of the misery of life and the absense of any truth to which the Ludlows can cling to. Legends of The Fall has a great cast that really engages you in the film. This film stars Brad Pitt, Aiden Quinn, Anthony Hopkins and Julia Ormond. Legends won an Academy Award for Best Cinematography and rightfully so because the cinematography in this film is one of the reasons this film is so great and a work of art. John Toll, Cinematographer of Braveheart, was the cinematographer on this film. John Toll was able to truly portray life on a Montana ranch in this film. There is alot of symbolism used in this film that John Toll is able to showcase. When Samuel Ludlow dies on the Barbwire and Tristan trying to save him, it represents him not being able to escape his fate. Also when Tristan tries unsuccessfully to save the calf that is tangled up in the barb wire, it represents him not being able to save his baby brother samuel. The scene in which Susannah goes to visit Tristan during his thirty day incarnation, Toll shot the scene to imply that both Tristan and Susannah are imprisoned people. The cinematography in this film is what truly makes this film a work of art.
American Beauty - Mise En Scene
Sam Mendes 1999 classic American Beauty is the perfect example of a film that utilizes mise en scene to convey a point. Despite its clever dialogue, Mendes also displays the narrative through different means: symbolic images, colors, lighting, sound, and characters' appearances. Every detail in the film shouldn't go unnoticed, for it most likely represents something larger than the story itself, such as its theme and the director's true message to the audience.
For one, the image that most people remember after viewing the film is the infamous red rose. This simple, physical object becomes the most important and recurring motif throughout the film. To Lester Burnham (Kevin Spacey), the red rose stands for a youthful lust and passion he desires but can't have, living in a prim and proper suburb with an insufferable wife. He daydreams about his daughter's beautiful friend Angela (Mena Suvari) surrounded by red roses. He dreams of her at night, lying in a bathtub full of roses. Roses fall on him from the ceiling when he wakes up next to the wife he was once in love with. While it might seem that Mendes is hitting us over the head with this imagery, it conveys a strong point and brings us into the protagonist's head. He longs for a life of spontaneity and passion and Angela seems to possess this need.
The roses parallel with one of the themes of the film which is "beauty is skin deep." To Lester's daughter, Jane (Thora Birch), she views her neighbor's footage of a plastic bag floating in the wind as true beauty, rather than her so-called "beautiful" best friend, Angela. Her neighbor, Ricky (Wes Bentley), even finds beauty in the stark red pool of blood at the conclusion of the film. The reappearance of the color red in the film becomes ironic, then. It begins as looking beautiful and youthful, and ends quite tragically.
Another aspect of mise en scene used in the film is the lighting and sound. When Lester breaks free from his monotonous lifestyle and diverts back to his youth (i.e. the scene in which he is jogging down the street), the lighting is optimistic. The sun is shining and the music is upbeat. However, when Lester's wife, Carolyn (Annette Bening), fails in selling a house to prospective buyers, she closes the blinds and cries to herself in the dark kitchen. Not only does the darkness show us the tone of the scene, but it gives us insight into the deep, dark layers of her troubled psyche.
For one, the image that most people remember after viewing the film is the infamous red rose. This simple, physical object becomes the most important and recurring motif throughout the film. To Lester Burnham (Kevin Spacey), the red rose stands for a youthful lust and passion he desires but can't have, living in a prim and proper suburb with an insufferable wife. He daydreams about his daughter's beautiful friend Angela (Mena Suvari) surrounded by red roses. He dreams of her at night, lying in a bathtub full of roses. Roses fall on him from the ceiling when he wakes up next to the wife he was once in love with. While it might seem that Mendes is hitting us over the head with this imagery, it conveys a strong point and brings us into the protagonist's head. He longs for a life of spontaneity and passion and Angela seems to possess this need.
The roses parallel with one of the themes of the film which is "beauty is skin deep." To Lester's daughter, Jane (Thora Birch), she views her neighbor's footage of a plastic bag floating in the wind as true beauty, rather than her so-called "beautiful" best friend, Angela. Her neighbor, Ricky (Wes Bentley), even finds beauty in the stark red pool of blood at the conclusion of the film. The reappearance of the color red in the film becomes ironic, then. It begins as looking beautiful and youthful, and ends quite tragically.
Another aspect of mise en scene used in the film is the lighting and sound. When Lester breaks free from his monotonous lifestyle and diverts back to his youth (i.e. the scene in which he is jogging down the street), the lighting is optimistic. The sun is shining and the music is upbeat. However, when Lester's wife, Carolyn (Annette Bening), fails in selling a house to prospective buyers, she closes the blinds and cries to herself in the dark kitchen. Not only does the darkness show us the tone of the scene, but it gives us insight into the deep, dark layers of her troubled psyche.
Mise en scene of Gummo: A Film by Harmony Korine
Gummo is the tale of the aftermath of a tornado that has affected the residents of Xenia, Ohio. With no real narrative plot, Korine communicates his story through a bizarre array of characters. From a pair of cat killers to wannabe strippers, the mise en scene in Gummo helps to create a mood of increasing boredom and obscurity.
Most of the action in this film takes place in a rural/suburban setting. The viewer gets a sense of impoverishment and backwardness. The scenes that are shot outside are that of junkyards and freeway crosswalks. This communicates a dirty and gritty feeling. There are also many interior scenes that take place in the character’s houses. All of the houses showed in the film are cluttered, unkempt, and extremely dirty. This was done to show the laziness and overall carelessness of the characters, who seem to have literally nothing to do throughout the film.
The actors in the film are not glamorized. However, they are portrayed as people who are bored. The director accomplishes this not only through dialogue, but through the movement of the actors as well as their performances. There is a scene where Chloe Sevigny’s character has a moment with the camera, where she is looking into the barrel of the camera as if it is a mirror. The scene is supposed to resemble that of a glamour shot. However, there is nothing attractive about this character, the actions seem out of place and seem to be done out of monotony. We learn later that her character spends her time trying to make herself seem more attractive.
The composition of many of the shots seem to mirror the different characters monotonous life. There is a scene where an extremely thin young boy goes to his basement to “workout”. He plays a music on a radio and lift weights in front of a mirror. This shot suggests repetitiveness by the way the character is positioned in the frame. He is in the center, and as he works out he stares into the mirror. Surrounding him is trash, clothes, and clutter, and we know as an audience that this is an everyday routine for him.
There are many monologues throughout the film. The director chose to have some of the actors deliver their monologues while looking directly into the camera. One character, a mentally disabled woman, delivers most of her monologues while looking into the camera. The director does this to emphasize the boredom and restlessness of the characters in this small town. Also, there is a character in the film who wears a bunny hat wherever he goes. There is a scene where two young boys beat him up in a junkyard, and leave him there. The bunny boy is left in the middle of the junkyard to “die”. However, he is only pretending to be dead. There is an aeriel shot of the bunny boy laying sprawled in the middle of junk cars. This scene implies to the viewer that like this boy, many of the characters in the film are surrounded by rubble, filth, and destruction, they are literally trapped in it.
Most of the action in this film takes place in a rural/suburban setting. The viewer gets a sense of impoverishment and backwardness. The scenes that are shot outside are that of junkyards and freeway crosswalks. This communicates a dirty and gritty feeling. There are also many interior scenes that take place in the character’s houses. All of the houses showed in the film are cluttered, unkempt, and extremely dirty. This was done to show the laziness and overall carelessness of the characters, who seem to have literally nothing to do throughout the film.
The actors in the film are not glamorized. However, they are portrayed as people who are bored. The director accomplishes this not only through dialogue, but through the movement of the actors as well as their performances. There is a scene where Chloe Sevigny’s character has a moment with the camera, where she is looking into the barrel of the camera as if it is a mirror. The scene is supposed to resemble that of a glamour shot. However, there is nothing attractive about this character, the actions seem out of place and seem to be done out of monotony. We learn later that her character spends her time trying to make herself seem more attractive.
The composition of many of the shots seem to mirror the different characters monotonous life. There is a scene where an extremely thin young boy goes to his basement to “workout”. He plays a music on a radio and lift weights in front of a mirror. This shot suggests repetitiveness by the way the character is positioned in the frame. He is in the center, and as he works out he stares into the mirror. Surrounding him is trash, clothes, and clutter, and we know as an audience that this is an everyday routine for him.
There are many monologues throughout the film. The director chose to have some of the actors deliver their monologues while looking directly into the camera. One character, a mentally disabled woman, delivers most of her monologues while looking into the camera. The director does this to emphasize the boredom and restlessness of the characters in this small town. Also, there is a character in the film who wears a bunny hat wherever he goes. There is a scene where two young boys beat him up in a junkyard, and leave him there. The bunny boy is left in the middle of the junkyard to “die”. However, he is only pretending to be dead. There is an aeriel shot of the bunny boy laying sprawled in the middle of junk cars. This scene implies to the viewer that like this boy, many of the characters in the film are surrounded by rubble, filth, and destruction, they are literally trapped in it.
Mise en scene of Gummo: A Film by Harmony Korine
Gummo is the tale of the aftermath of a tornado that has affected the residents of Xenia, Ohio. With no real narrative plot, Korine communicates his story through a bizarre array of characters. From a pair of cat killers to wannabe strippers, the mise en scene in Gummo helps to create a mood of increasing boredom and obscurity.
Most of the action in this film takes place in a rural/suburban setting. The viewer gets a sense of impoverishment and backwardness. The scenes that are shot outside are that of junkyards and freeway crosswalks. This communicates a dirty and gritty feeling. There are also many interior scenes that take place in the character’s houses. All of the houses showed in the film are cluttered, unkempt, and extremely dirty. This was done to show the laziness and overall carelessness of the characters, who seem to have literally nothing to do throughout the film.
The actors in the film are not glamorized. However, they are portrayed as people who are bored. The director accomplishes this not only through dialogue, but through the movement of the actors as well as their performances. There is a scene where Chloe Sevigny’s character has a moment with the camera, where she is looking into the barrel of the camera as if it is a mirror. The scene is supposed to resemble that of a glamour shot. However, there is nothing attractive about this character, the actions seem out of place and seem to be done out of monotony. We learn later that her character spends her time trying to make herself seem more attractive.
The composition of many of the shots seem to mirror the different characters monotonous life. There is a scene where an extremely thin young boy goes to his basement to “workout”. He plays a music on a radio and lift weights in front of a mirror. This shot suggests repetitiveness by the way the character is positioned in the frame. He is in the center, and as he works out he stares into the mirror. Surrounding him is trash, clothes, and clutter, and we know as an audience that this is an everyday routine for him.
There are many monologues throughout the film. The director chose to have some of the actors deliver their monologues while looking directly into the camera. One character, a mentally disabled woman, delivers most of her monologues while looking into the camera. The director does this to emphasize the boredom and restlessness of the characters in this small town. Also, there is a character in the film who wears a bunny hat wherever he goes. There is a scene where two young boys beat him up in a junkyard, and leave him there. The bunny boy is left in the middle of the junkyard to “die”. However, he is only pretending to be dead. There is an aeriel shot of the bunny boy laying sprawled in the middle of junk cars. This scene implies to the viewer that like this boy, many of the characters in the film are surrounded by rubble, filth, and destruction, they are literally
Most of the action in this film takes place in a rural/suburban setting. The viewer gets a sense of impoverishment and backwardness. The scenes that are shot outside are that of junkyards and freeway crosswalks. This communicates a dirty and gritty feeling. There are also many interior scenes that take place in the character’s houses. All of the houses showed in the film are cluttered, unkempt, and extremely dirty. This was done to show the laziness and overall carelessness of the characters, who seem to have literally nothing to do throughout the film.
The actors in the film are not glamorized. However, they are portrayed as people who are bored. The director accomplishes this not only through dialogue, but through the movement of the actors as well as their performances. There is a scene where Chloe Sevigny’s character has a moment with the camera, where she is looking into the barrel of the camera as if it is a mirror. The scene is supposed to resemble that of a glamour shot. However, there is nothing attractive about this character, the actions seem out of place and seem to be done out of monotony. We learn later that her character spends her time trying to make herself seem more attractive.
The composition of many of the shots seem to mirror the different characters monotonous life. There is a scene where an extremely thin young boy goes to his basement to “workout”. He plays a music on a radio and lift weights in front of a mirror. This shot suggests repetitiveness by the way the character is positioned in the frame. He is in the center, and as he works out he stares into the mirror. Surrounding him is trash, clothes, and clutter, and we know as an audience that this is an everyday routine for him.
There are many monologues throughout the film. The director chose to have some of the actors deliver their monologues while looking directly into the camera. One character, a mentally disabled woman, delivers most of her monologues while looking into the camera. The director does this to emphasize the boredom and restlessness of the characters in this small town. Also, there is a character in the film who wears a bunny hat wherever he goes. There is a scene where two young boys beat him up in a junkyard, and leave him there. The bunny boy is left in the middle of the junkyard to “die”. However, he is only pretending to be dead. There is an aeriel shot of the bunny boy laying sprawled in the middle of junk cars. This scene implies to the viewer that like this boy, many of the characters in the film are surrounded by rubble, filth, and destruction, they are literally
Mise en scene District 9- Kathryn Warburton
Mise en scene is really everything that is physically seen in the film. Everything including actors, props, setting, lighting, and various other things. All of these things help to give the audience a feeling that the creators of the the film intended to give. In the film District 9, the mise en scene contributes to the depressing, dirty, uncomfortable feeling that you are supposed to get from the movie. The fact that the aliens live in a slum and that this is where the majority of the movie is filmed, creates an atmosphere that is extremely gloomy. The lighting in the slum is either dreary or it is blinding. This is used to give the audience the feeling that these aliens may be feeling. It is to get you on the side of the aliens as opposed to the humans. When on the inside of the alien's huts, the lighting is extremely dim, and the line of sight does not go very far. This gives us the feeling of being trapped and uncomfortable.
Once the main character is infected by the alien substance, the protagonist beings to appear distraught, sweaty, pale, and dirty. These things all contribute to how the director wanted the audience to feel in the terms of this character. They wanted the audience to understand how uncomfortable and sick he was. They made him vomit black to get across the fact that what he was feeling was unnatural, and that is was the alien substance that made him feel sick.
Dr. Strangelove or How I Stopped Worrying and Love the Blog
Mise en scène in Kubrick’s black comedy classic Dr. Strangelove permeates every aspect of the movie and becomes a vehicle for many of the main ideas and themes of the film to be portrayed through in such a way that is very rarely seen from most film’s use of costumes and sets. Indeed, the film’s conscious use of set design proves to be where much of the film draws its comedy from. One of the film’s main sets, The War Room, is a masterful work of design that perhaps best showcases and sets up the subtle nuances of the film’s satire better than any other aspect within the film.
The majority of the scenes involving the American government take place in this war room, a huge bomb shelter-esque structure housing little more than a large table with chairs, several ominous lights and “the big board” which tracks and displays the location of all the US bombers across the world. The design of the room highlights one of the main themes of the film, bureaucracy and it’s ineffectual nature as, despite its bomb shelter appearance the war room is implied to be destroyed, along with the rest of earth, at the end of the film.
It also provides one of the great moments of dichotomy in the film, another of the film’s main themes when a brawl breaks out between a general and the Russian Ambassador and the president points out “Gentlemen, you can’t fight in here! This is the war room!” This line is one of the most prominent examples of the dichotomy and hypocrisy of the Cold War that the film satirizes.
The majority of the scenes involving the American government take place in this war room, a huge bomb shelter-esque structure housing little more than a large table with chairs, several ominous lights and “the big board” which tracks and displays the location of all the US bombers across the world. The design of the room highlights one of the main themes of the film, bureaucracy and it’s ineffectual nature as, despite its bomb shelter appearance the war room is implied to be destroyed, along with the rest of earth, at the end of the film.
It also provides one of the great moments of dichotomy in the film, another of the film’s main themes when a brawl breaks out between a general and the Russian Ambassador and the president points out “Gentlemen, you can’t fight in here! This is the war room!” This line is one of the most prominent examples of the dichotomy and hypocrisy of the Cold War that the film satirizes.
Daughters of the Dust
Mise En Scene plays a crucial part in Julie Dash’s film, “Daughters of the Dust.” The actors clothing throughout the film depict more than just costumes of the time period, they are representative of each characters’ personality and struggle as generations of the Peazant family make the epic crossover to the mainland from the Ibo Landing. There is a sense of tension between Nana, the traditional and deep-rooted matriarch of the family and the majority of her family. This is exhibited in Nana’s clothing choice: she wears dark dresses as a means of declaring her strong beliefs in her ancestry and roots. The rest of the women in the movie wear white, clearly differentiating their pureness and openness. Their identity is as unknown and vast as the color white, as opposed to Nana’s dark clothing, which demonstrates her deep-rooted self and pride. Viola is another character that does not wear white due to her conversion to Christianity. Her unique outfits represent her concrete self-identity that she has discovered, and therefore chooses not to dress in all white. By choosing to dress Viola in darker tones, Dash is exhibiting Viola’s disassociation from her roots and “barbaric” culture.
Color is also symbolically displayed on Nana’s stained hands. Having been a slave and hard worker her entire life, Nana’s hands are stained a deep blue (like her dress) serving as a constant reminder of her past, where she has come from, what she has gone through and what she will never forget. Her blue palms are a cause of Nana’s hesitance when her family is traveling to the mainland. “Yellow Mary” is a perfect example of Dash’s symbolic use of color. Mary is called yellow due to her light skin tone, which is a great contrast to the rest of the islanders whom have much darker skin. It is also symbolic that she is referred to as yellow due to the fact that she spent time as a prostitute and therefore is seen as “wasting her yellow.”
Dash also uses setting and props to create a vision for the viewer. For example, when Eula is in bed dealing with the burden and debate of her unborn child she is wrapped in a quilt with a unique and busy pattern, symbolizing Eula’s own puzzling and complex turmoil. Nana’s use of the bible also represents some willingness to evolve with the times and holds no animosity towards Christianity. The imagery of Ibo’s Landing also serves to give the audience the importance of this family’s heritage and life styles.
The lighting throughout several scenes in the movie is delicate and subdued. The majority of the scenes are emotional and heavy and therefore the lighting is bright in an effort to not have every scene come off as deep, dark and overly dramatic. Dash’s portrayal of different character points of view sets up the notion that women are very strong and powerful. Each character, especially the unborn child narrator, creates a circulatory story line that represents the family’s past, present and future.
Color is also symbolically displayed on Nana’s stained hands. Having been a slave and hard worker her entire life, Nana’s hands are stained a deep blue (like her dress) serving as a constant reminder of her past, where she has come from, what she has gone through and what she will never forget. Her blue palms are a cause of Nana’s hesitance when her family is traveling to the mainland. “Yellow Mary” is a perfect example of Dash’s symbolic use of color. Mary is called yellow due to her light skin tone, which is a great contrast to the rest of the islanders whom have much darker skin. It is also symbolic that she is referred to as yellow due to the fact that she spent time as a prostitute and therefore is seen as “wasting her yellow.”
Dash also uses setting and props to create a vision for the viewer. For example, when Eula is in bed dealing with the burden and debate of her unborn child she is wrapped in a quilt with a unique and busy pattern, symbolizing Eula’s own puzzling and complex turmoil. Nana’s use of the bible also represents some willingness to evolve with the times and holds no animosity towards Christianity. The imagery of Ibo’s Landing also serves to give the audience the importance of this family’s heritage and life styles.
The lighting throughout several scenes in the movie is delicate and subdued. The majority of the scenes are emotional and heavy and therefore the lighting is bright in an effort to not have every scene come off as deep, dark and overly dramatic. Dash’s portrayal of different character points of view sets up the notion that women are very strong and powerful. Each character, especially the unborn child narrator, creates a circulatory story line that represents the family’s past, present and future.
Daughters of the Dust (Julie Dash; 1991)
Its really no surprise that mise-en-scene plays such a huge role in Julie Dash's "Daughters of the Dust." While watching the film, one realizes that mise-en-scene is just as much a character and is just as important, if not more important than the jumbled story that it presents. Setting is key throughout the film. Set and shot on the Gullah Islands in South Carolina where the story literally takes place, the setting is essential. The settings are wild and exotic, making one almost surprised that it takes place in America. Spanish moss dangles from trees, various sounds are heard, and the forests are jumbled with trees tied with bottles and various faded gravestones. This setting itself shows us that the wild atmosphere represents a culture living outside of the normal realm, with a culture and existence wildly different from many in America's at the time, the chaos of the atmosphere represents the strife and decisions this family must make and the prices they must pay to make it in a normal America that they yearn for. It’s no surprise that a confrontational scene between a younger person of the family, with the oldest patriarch they have takes place in a wild and untamed graveyard, where the names and dates are barely visible, faded to time. Loose framing helps us understand how important setting is, for the screen is wide and spacious, showing us that these people are a part of this land, where they both equally take part throughout the film. The colors and lighting throughout the film are bright yet saturated, perhaps to show that these memories are faded and vaguely recalled, but still vibrant and immaculate, not dull and dryly lit like many period pieces that choose to use color. With this saturation, we also feel the heat lingering throughout, making weather an important part of the setting, and giving us an atmosphere that would be hard, if not impossible to replicate on sets in soundstages. Figure placement is a fascinating aspect throughout the film. Close ups are something of a rare thing within this film. Barely ever showing shots involving someone's inner conflict mind the Grandmother and perhaps the mother of the unborn child, it seems almost every shot is filled with people, showing the unity of this family and the importance of sticking together. Everyone's story and very existence is impossible without everyone else. One story is many other's story, since everything within involves the conflict of leaving home for another. As discussed several times in class, costumes are essential to how we relate to the story. Its rare for anyone to change into another costume than the one they're assigned. Instead of thinking of this as cheap, it oddly works for the film since the various colors they wear symbolize who these people are and what they represent. Various children and main characters wear mostly white dresses, perhaps symbolizing their optimism and innocence on leaving the island. Yellow Jane wears yellow since she represents someone both white and black, something that many on the island even scorn, the very color of her dress represents who she is through out.
District 9- Neill BlomKamp- By Dominic Lee
District 9 is not only one of the best movies made this year, but it's production and cinematography qualities are outstanding too. It takes place on earth where we have our first wide-scale Alien sighting, and documents the reaction of humans and the government, along with the journey of one man as he interacts with the aliens, and, due to unforseen circumstances eventually becomes one himself. That being said, in a movie about alien/human interaction, director Neill BlomKamp's vision of an almost Auschwitz type setting is nothing that hasn't been seen before, but the CGI integration of the aliens, the"Prawn", is what really draws my interest. It is indeed a very technical film, one that was effectively shot in a reporter type viewpoint, as they needed not only the impoverished, way-ward third world view of the district 9, but also had to show modern and then futeristic aspects in the film in a jetsons meet the flinstones kind of way. The distinctive mis-en-scene of the movie in my opinion would have to be the shot in which the alien spaceship is seen, vast, hovering over the city, representing the mysterious and unknown, and a sense of imminent peril can be felt by the monotone voice of one narrator as he comments on the sighting.
District 9 is not only one of the best movies made this year, but it's production and cinematography qualities are outstanding too. It takes place on earth where we have our first wide-scale Alien sighting, and documents the reaction of humans and the government, along with the journey of one man as he interacts with the aliens, and, due to unforseen circumstances eventually becomes one himself. That being said, in a movie about alien/human interaction, director Neill BlomKamp's vision of an almost Auschwitz type setting is nothing that hasn't been seen before, but the CGI integration of the aliens, the"Prawn", is what really draws my interest. It is indeed a very technical film, one that was effectively shot in a reporter type viewpoint, as they needed not only the impoverished, way-ward third world view of the district 9, but also had to show modern and then futeristic aspects in the film in a jetsons meet the flinstones kind of way. The distinctive mis-en-scene of the movie in my opinion would have to be the shot in which the alien spaceship is seen, vast, hovering over the city, representing the mysterious and unknown, and a sense of imminent peril can be felt by the monotone voice of one narrator as he comments on the sighting.
Daughters of the Dust
Julie Dash’s Daughters of the Dust is a film riddled with symbolism about the Gullah culture on the sea islands of South Carolina and Georgia in the United States. The film is about the Peazant family and their journey from the island of Ibo Landing to the mainland, just as their African ancestors had done centuries before. However, Dash’s ability to tell a symbolic story through visuals and mise en scene, most predominantly through color, is what makes this film so important and significant.
The premise of the film is about the Peazant family leaving the island of Ibo Landing for the first time since their African ancestors walked back to the mainland generations before. However, it is Dash’s use of color and mise en scene that really drives home the dramatic problem and struggle of the film. In film, or art for that matter, the color white is often used to represent purity or innocence in characters. Most of the younger women in this family on Ibo Landing wear white. These are the same women that have never left the island, but are distanced from their ancestors and are planning the trip to the mainland. I believe Dash was using white to represent these women as pure and untouched, as they have never ventured off of their island. Also, other women on the island wear different colors, and these women are mostly different from those who wear white on the island. For example, Nana, who is much more in tune with her ancestry and teaches the children on the island about where their family originated from, wears an indigo dress. Also, Mary wears a yellow dress throughout the film. In the film, it is hinted at that Mary may have been a prostitute and it is clear that she has left Ibo Landing and is more connected with the outside world.
Daughters of the Dust is a complex film and at times, hard to follow or get totally interested in. However, Dash’s use of color and mise en scene really draws the audience’s eye and helps them understand and explore the main theme in this film: the struggle and uncertainty of leaving your homeland and ancestry in search of a new home.
"bug"
In William Friedkin's film called "Bug" has various ways of lighting through out the film. Lighting is a huge part of mise en scene. The lighting will help set the mood and location of the film. Not only will it reflect the mood of the film but also how the characters are feeling. In the very beginning of the film we see Ashley Judd's character living in a sleazy motel. There is a bright blue neon light that goes around the motel. The blue is similar to what is seen coming from a bug zapper. I think that gives the audience a clue as to what could happen considering the film is called "Bug" and this blue bug zapping light surrounding the main character's home. The blue light also hints to the viewer that she is very blue and sad. Inside the motel room that she lives in, is very dark with lots of shadows. She is living in the hotel room to escape her abusive ex-husband. The lighting gives us a hint that she is really emotionally hurt by her past. That is why her room is so dark and depressing. He keeps calling her and doesn't say anything. One time when the phone rings she decides not to answer but has a stare down with the phone. She is lit from only one side of her face. The phone is lit just like how she was. Only one side was lit, the other in shadow as if phone was like a real person. "Bug" uses lighting to set the mood of the film and to inform the viewer of how the character is feeling.
The Sixth Sense
In M. Night Shyamalan’s 1999 thriller The Sixth Sense, the color red has an important impact and meaning within the film. The director was careful with the way red was used in the film and it was mostly left out of the movie except for certain important objects in important scenes. The use of red in the film was to provide clues to the audience about the fate of Dr. Malcom Crowe (Bruce Willis) after he is shot in the opening scenes.
The vivid red objects symbolized things that had been touched by the dead in the other world. The tent in Cole’s room is red and this is where he encounters several dead people who need his help. Anna, Crowe’s wife has bright red anti depressant pills and is wearing a red gown at an anniversary dinner. Cole wears a bright red sweater when he attends Tommy’s birthday party and he encounters a spirit banging in the closet. The doorknob to Malcom’s basement is also red since he tried to open it and Malcom is dead.
The use of red in the film works very well in the mise en scene as a powerful visual and a subtle clue to the audience. Since red represents things that have been touched by a ghostly spirit it hints that Dr. Malcom Crowe was fatally wounded when he was shot, which is revealed in the twist of the film.
<2001 A Space Odyssey>, the beginning of the cosmos mise-en-scene
I was so shocked very seriously when I see "Star Wars 4, New Hope", the beginning of series of Star wars, at the first time. The description of the imaginary cosmos world was not only so great and gigantic but was full of creative spaces. After a few years, a film was more shocking to me than ever. That is "2001 A Space Odyssey". First of all, the fact it is made approx 10 years earlier than "Star Wars" is marvelous. It is no doubt that "Star Wars" has reference for "2001 A Space Odyssey" during its pre-production.
Then, what on earth makes "2001 A Space Odyssey" impressive and attractive?
First, there was strong effect of monochrome overall. The satellite and spaceship is covered with white color. Not only it has symbol of purity, hollowness and transparency, but it intensifies other colors. See red sofa and space suit, green bed on the white background in the movie. The contrast between the single colors is very sensitive and makes me feel everything arranged in that cosmos is in order, not confused.
Second, the most spaces are composed of high-key light. So, there is seldom shadow of the subjects. “No shadow” in the subject symbolizes many things. For one thing, it seems no volume or weight. It is suitable for imagining the infinite cosmos because there is no boundary in it. For the other thing, it represents various lights originated from sun and many stars shine overall. Therefore it seems natural that the interior rooms surrounded by the lights should have flat feeling through the high-key light.
At last, CG created the unknown space, cosmos perfectly and surprisingly. That would be
gloomy, if movie gets restriction for showing up extravagant space by shooting in only studio set. With CG, all we expect about the cosmos is accomplished for example, we
see the space station and the planet in the movie like they really exist.
In conclusion, Social Scientist and Philosopher, White Head says “Since Plato, all philosophies are his annotations.” As the admiration for Plato is so great, I would like to say this. “Since Stanley Kubrick, all movies about cosmos are his annotations.” That is because all SF movies about the cosmos have still followed conventions of mise-en-scene created by Stanley Kubrick in that effect of monochrome (especially, white color), high-key light and the cosmos represented by CG
Then, what on earth makes "2001 A Space Odyssey" impressive and attractive?
First, there was strong effect of monochrome overall. The satellite and spaceship is covered with white color. Not only it has symbol of purity, hollowness and transparency, but it intensifies other colors. See red sofa and space suit, green bed on the white background in the movie. The contrast between the single colors is very sensitive and makes me feel everything arranged in that cosmos is in order, not confused.
Second, the most spaces are composed of high-key light. So, there is seldom shadow of the subjects. “No shadow” in the subject symbolizes many things. For one thing, it seems no volume or weight. It is suitable for imagining the infinite cosmos because there is no boundary in it. For the other thing, it represents various lights originated from sun and many stars shine overall. Therefore it seems natural that the interior rooms surrounded by the lights should have flat feeling through the high-key light.
At last, CG created the unknown space, cosmos perfectly and surprisingly. That would be
gloomy, if movie gets restriction for showing up extravagant space by shooting in only studio set. With CG, all we expect about the cosmos is accomplished for example, we
see the space station and the planet in the movie like they really exist.
In conclusion, Social Scientist and Philosopher, White Head says “Since Plato, all philosophies are his annotations.” As the admiration for Plato is so great, I would like to say this. “Since Stanley Kubrick, all movies about cosmos are his annotations.” That is because all SF movies about the cosmos have still followed conventions of mise-en-scene created by Stanley Kubrick in that effect of monochrome (especially, white color), high-key light and the cosmos represented by CG
Monday, September 28, 2009
Antichrist [Lars von Trier] Mise-En-Scène
Lars von Trier’s film Antichrist is a haunting experience that probes at the nature of human primarily through mise-en-scène. The story is a simple one that uses a lot of visual components to parallel the story of Adam and Eve, otherwise the two are nothing alike: a woman goes into a deep and frightening depression following the negligent death of her son. Antichrist is a very personal story to von Trier because it came out of his own incapacitating depression and anxiety. Von Trier explores the nature of human in three chapters: grief, pain, and anxiety, and comes down neither on the side of salvation nor damnation, but ultimately of chaos reining. The prologue and epilogue of the film are the most visually compelling and are the only two chapters of the film that aren’t bleak and miserable; non-diegetic opera orchestrates a beautiful sequence of slowed down black and white shots where Willem Defoe’s unnamed character has sex with Charlotte Gainsbourg’s character while their son climbs out of his crib and falls out the window. Von Trier’s beautiful depiction of lovemaking is match-cut with the child’s innocence and curiosity as he climbs up onto the windowsill. The most powerful shot of the sequence puts the child in the foreground peering at the open window while his parents have sex in the background. Even when the child falls to his death, the snow register’s so peacefully on film and the mood remains very serene. Immediately following is when the film spirals into a hellish landscape of the human psyche, reverting to a crude Dogme 95/French New Wave style of shooting for the chaotic feel, which becomes thematic.
Defoe’s character is a psychologist, and through him von Trier channels Freudian solutions to the imagery of the film. Defoe even sketches a pyramid symbolic of the psyche to get to the root of his wife’s depression, concluding that it’s nature (the woods). At this point, von Trier photographs nature in the woods in a terrifying way. When his wife first comes off the anti-depressants, von Trier zooms into the stems of flowers in a vase of water so far that the image becomes a frightening and contemptible omen of bad things to come. Later, von Trier uses a dizzying shot of the woods intercut periodically with a few frames of a demonic face superimposed into the woods to depict the further descent into this inward Freudian landscape. Gainsbourg’s character even witnesses a baby bird falling out of a nest and getting eaten by a hawk, an obvious visual parallel hearkening back to the beginning of the story. Just when it seems to Defoe (and the viewer) that nature is indifferent and can’t hurt us, acorns violently hail down on the roof--and in Defoe’s dream, he stands helplessly as they plunk him in the head.
There’s a trick in the writing where nature (the woods) becomes synonymous with human nature, and that’s when the film gives way to graphic sexual violence as neither character is in control of their actions anymore. The woman confronts the solitude of human nature, screaming for her husband in a dense fog while he hides, terrified of her. When all three symptoms of her depression coalesce (the deer symbolizing grief, the fox symbolizing pain, and the crow symbolizing anxiety--converge), she loses all control and buries her husband alive. The very way von Trier photographs the cabin in the woods is symbolic of the lonely summer that she spent with her son while she worked on her thesis (where she came to the conclusion that men have a history of misogyny because women are inherently evil). Here we see the parallels between von Trier’s imagery and depictions in textbooks of medieval torture. The movie concludes with a provoking shot of Dafoe strangling his wife because she is imploding and believes in her core that she deserves pain and death for allowing her son to die, or perhaps for the more base reason of existing in the first place. Von Trier is a striking visual storyteller, and he accomplishes a masterpiece on the bleak chaos of human nature through mise-en-scène.
Defoe’s character is a psychologist, and through him von Trier channels Freudian solutions to the imagery of the film. Defoe even sketches a pyramid symbolic of the psyche to get to the root of his wife’s depression, concluding that it’s nature (the woods). At this point, von Trier photographs nature in the woods in a terrifying way. When his wife first comes off the anti-depressants, von Trier zooms into the stems of flowers in a vase of water so far that the image becomes a frightening and contemptible omen of bad things to come. Later, von Trier uses a dizzying shot of the woods intercut periodically with a few frames of a demonic face superimposed into the woods to depict the further descent into this inward Freudian landscape. Gainsbourg’s character even witnesses a baby bird falling out of a nest and getting eaten by a hawk, an obvious visual parallel hearkening back to the beginning of the story. Just when it seems to Defoe (and the viewer) that nature is indifferent and can’t hurt us, acorns violently hail down on the roof--and in Defoe’s dream, he stands helplessly as they plunk him in the head.
There’s a trick in the writing where nature (the woods) becomes synonymous with human nature, and that’s when the film gives way to graphic sexual violence as neither character is in control of their actions anymore. The woman confronts the solitude of human nature, screaming for her husband in a dense fog while he hides, terrified of her. When all three symptoms of her depression coalesce (the deer symbolizing grief, the fox symbolizing pain, and the crow symbolizing anxiety--converge), she loses all control and buries her husband alive. The very way von Trier photographs the cabin in the woods is symbolic of the lonely summer that she spent with her son while she worked on her thesis (where she came to the conclusion that men have a history of misogyny because women are inherently evil). Here we see the parallels between von Trier’s imagery and depictions in textbooks of medieval torture. The movie concludes with a provoking shot of Dafoe strangling his wife because she is imploding and believes in her core that she deserves pain and death for allowing her son to die, or perhaps for the more base reason of existing in the first place. Von Trier is a striking visual storyteller, and he accomplishes a masterpiece on the bleak chaos of human nature through mise-en-scène.
Sunday, September 27, 2009
The Big Lebowski
The classic cult film, The Big Lebowski, which was written and directed by none other then the Coen Brothers, has the trademark style that goes along with each of their films. The Coen brother's always construct an odd, yet brilliant way to tell the narrative they are trying to convey. I have seen a few Coen Brother flicks, and each was casted with various characters attributed with bizarre personality traits along with a twisted plot. This time with their film, The Big Lebowski, the Coen Brothers used the element of spectacle a lot of different ways to distinguish each of the character’s weird individuality.
I noticed in the film, that when a spectacle would take place, there would be either narration or a soundtrack or even both, to communicate to the audience what each character is about. For the main character, “The Dude”, the opening sequence in the film introduces him through narration over a spectacle. The spectacle shows his nonchalant lifestyle as he writes a check for .69 cents to purchase a carton of Half and Half in a supermarket as he is chilling with an open robe. This gives the viewer a great idea about the nature of “The Dude”.
Another example of a spectacle in the film is when the character, Jesus, gets introduced. To give one an idea of what part Jesus plays in the film, a spectacle presumes with a Spanish style soundtrack in one of the main settings, a bowling alley. It exhibits his pedophile state of mind as he gets a strike and then begins to do a little dance in his purple jumpsuit and painted fingernails among other things.
The Big Lebowski is filled with many spectacles that illustrate what the film is, a bunch a characters with hilarious characteristics.
I noticed in the film, that when a spectacle would take place, there would be either narration or a soundtrack or even both, to communicate to the audience what each character is about. For the main character, “The Dude”, the opening sequence in the film introduces him through narration over a spectacle. The spectacle shows his nonchalant lifestyle as he writes a check for .69 cents to purchase a carton of Half and Half in a supermarket as he is chilling with an open robe. This gives the viewer a great idea about the nature of “The Dude”.
Another example of a spectacle in the film is when the character, Jesus, gets introduced. To give one an idea of what part Jesus plays in the film, a spectacle presumes with a Spanish style soundtrack in one of the main settings, a bowling alley. It exhibits his pedophile state of mind as he gets a strike and then begins to do a little dance in his purple jumpsuit and painted fingernails among other things.
The Big Lebowski is filled with many spectacles that illustrate what the film is, a bunch a characters with hilarious characteristics.
Mise en scene in WALL-E
Pixar’s animated movie WALL-E held a rather consistent and nicely implemented underlying commentary on how humans tend to put their trust in the wrong places too easily. This is a broad statement, of course, but to be more specific; WALL-E shows how Americans’ love of Capitalism and big corporations has ultimately led to them being completely blind to what is actually happen in the world that is right in front of them.
To convey such a dim and unattractive message while maintaining a light-hearted plot line for the sake of not ostracizing Disney/Pixar’s target demographic, the animators must use mise en scene to their advantage. There are many uses of color, lighting, costumes, etc. The writers also managed to put in an incredible amount of allusions to other genre specific films that help the audience sub-consciously place themselves in the right mind set for the film they are about to watch.
For instance, the musical composition at times is strangely reminiscent of Star Wars and Indiana Jones. This lends to the idea that few (WALL-E, EVE, and Captain McCree) will stand against many (AUTO, Buy 'n' Large, and Every robot on the Axiom) in their quest to fight for freedom of knowledge and a place to belong were they are under their own control, not technology’s. The aforementioned concepts can both be applied to Star Wars and Indiana Jones. There are many other allusions to movies like Alien, 2001: A Space Odyssey, Hello Dolly, and the actor’s previous projects in the movie that all hold importance in setting the audience into a place were they can know what they are in for without ruining what is about to actually happen in the movie at all.
Going much deeper into Mise en scene of WALL-E, the usage of lighting in the movie is a subtle comment on how the humans around WALL-E are being affected by their life under the control of their technology and the corporation that made it. For example, on earth, every hint of light is greatly diffused by smog. Visibility is outrageously low. In the immediate context of the movie, all this does is help convey to the audience that Earth is in shambles and is nothing more than a planetary trash heap. However, when the movie goes on, you become aware that the Fumarole Smog actually represents how the human race is in denial about the dire environmental state of our planet. This is a simple yet functional tactic. Later on, on the Axiom, lighting becomes futuristic and harsh. The glitter of the lighting is distracting to the characters for it is something not seen before. Does that not sound like how a lot of technology holds empty promises? Well it does. Look into it a tad and you will notice how no human actually moves until the resolution. This is a commentary on how the over usage of technology can lead to completely sedentary lifestyles the will lead to our demise. At the same time, it comments on how our lack of political or diplomatic action in the way of facing Earth’s real issues prevents science from learning more about what to do about the problem. All of this is established by relating on screen actions to the harsh lighting that would blind you if you were to look directly at its source. Get it?
Most importantly when discussing the idea of how “Americans’ love of Capitalism and big corporations has ultimately led to them being completely blind to what is actually happen in the world that is right in front of them” is color. The colors Blue and Red are vital when understanding the situational awareness of the fat-ass humans on the ship. Initially, all of the human switch their suits from Red to Blue when told to by the Buy ’n’ Large Corporation Signs (this is the source of the initial oppression). This change from Red to Blue suits signifies the loss of their active thought process in questioning the capitalistic motives, environmental motives, political motives, etc. They are now completely controlled by their Buy ‘n’ Large based technology. They cannot be active in saving themselves. However, our little hero WALL-E comes along and innocently breaks the connection the humans have with their hologram communication screens. Whenever this happens, their suits turn back to Red. They always are surprised to see what is around them. For instance, the reoccurring line “I didn’t know we had a pool!” is a result of this sudden realization and obtainment of awareness, active thought process, and democratically and morally motivated activism.
WALL-E is filled with small bits of Mise en scene that contribute to an all-encompassing message. This can be accomplished in more interesting ways because it is an animated feature. The animators literally create the world from ground up, so everything is relevant.
To convey such a dim and unattractive message while maintaining a light-hearted plot line for the sake of not ostracizing Disney/Pixar’s target demographic, the animators must use mise en scene to their advantage. There are many uses of color, lighting, costumes, etc. The writers also managed to put in an incredible amount of allusions to other genre specific films that help the audience sub-consciously place themselves in the right mind set for the film they are about to watch.
For instance, the musical composition at times is strangely reminiscent of Star Wars and Indiana Jones. This lends to the idea that few (WALL-E, EVE, and Captain McCree) will stand against many (AUTO, Buy 'n' Large, and Every robot on the Axiom) in their quest to fight for freedom of knowledge and a place to belong were they are under their own control, not technology’s. The aforementioned concepts can both be applied to Star Wars and Indiana Jones. There are many other allusions to movies like Alien, 2001: A Space Odyssey, Hello Dolly, and the actor’s previous projects in the movie that all hold importance in setting the audience into a place were they can know what they are in for without ruining what is about to actually happen in the movie at all.
Going much deeper into Mise en scene of WALL-E, the usage of lighting in the movie is a subtle comment on how the humans around WALL-E are being affected by their life under the control of their technology and the corporation that made it. For example, on earth, every hint of light is greatly diffused by smog. Visibility is outrageously low. In the immediate context of the movie, all this does is help convey to the audience that Earth is in shambles and is nothing more than a planetary trash heap. However, when the movie goes on, you become aware that the Fumarole Smog actually represents how the human race is in denial about the dire environmental state of our planet. This is a simple yet functional tactic. Later on, on the Axiom, lighting becomes futuristic and harsh. The glitter of the lighting is distracting to the characters for it is something not seen before. Does that not sound like how a lot of technology holds empty promises? Well it does. Look into it a tad and you will notice how no human actually moves until the resolution. This is a commentary on how the over usage of technology can lead to completely sedentary lifestyles the will lead to our demise. At the same time, it comments on how our lack of political or diplomatic action in the way of facing Earth’s real issues prevents science from learning more about what to do about the problem. All of this is established by relating on screen actions to the harsh lighting that would blind you if you were to look directly at its source. Get it?
Most importantly when discussing the idea of how “Americans’ love of Capitalism and big corporations has ultimately led to them being completely blind to what is actually happen in the world that is right in front of them” is color. The colors Blue and Red are vital when understanding the situational awareness of the fat-ass humans on the ship. Initially, all of the human switch their suits from Red to Blue when told to by the Buy ’n’ Large Corporation Signs (this is the source of the initial oppression). This change from Red to Blue suits signifies the loss of their active thought process in questioning the capitalistic motives, environmental motives, political motives, etc. They are now completely controlled by their Buy ‘n’ Large based technology. They cannot be active in saving themselves. However, our little hero WALL-E comes along and innocently breaks the connection the humans have with their hologram communication screens. Whenever this happens, their suits turn back to Red. They always are surprised to see what is around them. For instance, the reoccurring line “I didn’t know we had a pool!” is a result of this sudden realization and obtainment of awareness, active thought process, and democratically and morally motivated activism.
WALL-E is filled with small bits of Mise en scene that contribute to an all-encompassing message. This can be accomplished in more interesting ways because it is an animated feature. The animators literally create the world from ground up, so everything is relevant.
Subscribe to:
Posts (Atom)