The first three images create a sense of hunger – maybe the character has links to the chicken or enjoys eating.
The second set of three forms a feeling of fatherhood and paternalism. It portrays the character as a nurturing, kind man.
The final photos create an emotion of wanderlust and distance from the world; isolation.
Art Film –
Alphaville.
Mainstream Film –
Love Simon, Deadpool 2, A Bug’s Life, The Breakfast Club, The Shape of Water.
Historically Significant Film –
Once Upon A Time In The West, Battleship Potemkin, The Seventh Samurai, The Wizard of Oz.
Mise-en-scene – The visible aspects that make up a film; e.g clothing, setting and objects. Everything you see in the film.
Cinematography – The use of techniques in film to convey meaning.
Throughout ‘Blade Runner’, mise-en-scene is used to express character emotions, reflect the genres (sci-fi/ film noir) and add to the verisimilitude of the futuristic world. Although there is a plethora of scenes I could have used to highlight Ridley Scott’s use of mise-en-scene, I have chosen this scene as I believe it accurately depicts a dystopian world, in addition to adding characterisation onto the principle role of Deckard.
Firstly, a wide camera shot is used to outline the busy nature of the streets, with extras and props crowding the scene. Scott may have envisioned this street to be crowded as it highlights the reality of urbanisation: the amount of people living in urban areas. Many experts have expressed how devastating urbanisation may be on future generations, if population increase continues as it is. Therefore, this feature may add a level of existential dread for the viewers, as they are forced to reflect on future living conditions they may be faced. Furthermore, the bustling street adds tension to the chase within this scene as the audience is unsure whether Zhora will escape into the crowds or if a civilian may get shot by accident.
Next, in this scene, signs and symbols are used to portray similarity between the present-day world and the ‘Blade Runner’ dystopian version. On the left side of this shot, a neon ‘Atari’ sign can be seen. The use of this product logo links reality into the screen world, adding to the viewer’s believability of this fictional world. Furthering this point, the traditional styling of the taxicab (yellow with black and white squares) is something which almost all viewers will recognise from reality. Some other signs and symbols which also add to this sense of verisimilitude is the burlesque-style LED display and the taxi fare shown on the side of the taxi. In this one shot alone, six different fonts are used; this may portray a society even more obsessed with materialism and selling products than how the world is nowadays. This may promote viewers to reflect on present day materialism, and how badly it could escalate into a Blade Runner type society.
The feature of Deckard’s ‘blaster’ gun adds a trope of sci-fi to this scene. In addition, the strong imagery of civilians strolling past, either oblivious or unphased by the gun, may portray to the viewers a deeper meaning of how accustomed violence may become in future society. The gun may also add a feeling of tension into this scene as Deckard, the character who the audience is most familiar with, may be in danger: the gun is there for his protection. This gun may also add a trope to the film noir genre of this movie, as it is a convention for police/ detective characters to carry inconspicuous black handguns.
Costume also adds to the characterisation of Deckard in addition to reinforcing the film noir genre. Trench coats have long been a staple piece of clothing worn by detectives and similar masculine characters in film noir (e.g. ‘The Big Heat’ and ‘The Maltese Falcon’). The stark contrast between this old-fashioned and traditional costume of Deckard to the high-tech and futuristic background solidifies the hybrid genre; this allows the audience to clearly identify Scott’s artistic direction. Pre-existing sci-fi fans may also appreciate the casting of Deckard as he appeared in the Star Wars franchise.
In the movie The Shining, Kubrick uses a variety of cinematography techniques that portray hidden meaning. His cinematic techniques have helped him to make his audience immensely uncomfortable. However, the subtlety is created by taking us inside the minds of his characters-in order to deeply unsettle us and allow Kubrick to slowly mess with our heads just as the hotel does to Jack throughout the movie.
In this scene we are shown a symmetrical shot where Danny stares down a long corridor towards some creepy, unnerving twins. One impact of this symmetry is that your eye is unwillingly led towards the twins as they are directly in the centre of the shot. You are focused on the twins, just as Danny himself is. Symmetry is usually associated with the supernatural and can create a false hope that everything is perfect, making the outcome of the movie unexpected. This type of shot is used many times throughout the film so that Kubrick can make you unable to look away.
Kubrick applies another effective technique in this scene called ‘The one point perspective.’ This is so objects appear to grow smaller the closer they are to the centre.
Movement is also used in this scene as Danny is cycling around the hotels hostile corridors while rapidly turning corners. The camera follows him, creating a major sense of anticipation and suspense for the viewer with every corner he turns. This is because Kubrick has tricked us into thinking we are about to get jump scared.
He also uses an extreme wide-angle lens which captures a lot of the space around the character to create a claustrophobic sense. This makes it seem like the hotel is surrounding them and makes the viewer feel trapped inside with Danny. This shot also creates an exaggerated distance between the twins and Danny, making them seem unapproachable and mysterious.
The maze scenes;
Kubrick uses lots of wide shots like this to make the characters seem small and powerless compared to the whole of the hotel. For example, the contrast between this scene where Jack is standing above a model of the maze and the scene directly after which zooms in to the (non-model) maze slowly.
Jack seems more in control of the maze in the scene on the left, we can tell that there is something off with Jack as once again symmetry has been used in this shot to create an unsettling feeling and link Jack to something paranormal.
Comparatively, in the scene below, the wide-angle shot focuses our whole attention onto the real maze. This shot is shown directly after the shot of Jack standing over the maze. I think this shows the separation between Jack and the rest of his family as the hotel has gotten to his head a lot more than it has to Wendy and Danny. The camera slowly zooms into the centre of the maze. I think this shows how lost the family really are inside of the hotel, or how lost Jack is inside his own mind.
In the movie The Shining, the director Stanley Kubrick used many cinematography techniques to create an eerie and uncomfortable environment for his audience. Many techniques throughout this film create different meanings and can be interpreted differently depending on who is watching it. This movie was a turning point in cinematic history, and some techniques have even been named after him, such as the ‘Kubrick zoom’.
The first and one of the most prominent techniques used was the idea of framing and one-point perspective, which gained popularity after ‘The Shining’ was released.
While perfect symmetry is usually avoided in film (as it breaks the illusion that the audience is not watching a movie), Kubrick loves to use it. Although the audience might not realise it, this technique creates a very uncomfortable feeling. Since everything is so symmetrical, it gives the audience false hope that everything is organised and safe. However, it can also be seen as very unnatural and gives a sense of a false reality. Symmetry is commonly associated with the supernatural. This constructs a world with unfathomable meanings and ideas.
Some examples of this:
When Danny is met with the two twins.
While Jack is chasing after Danny in the maze
Another cinematography technique that Stanley Kubrick used was the idea of angles.
In this scene, a high-angle shot is used when Danny plays with his toys in the hallway. Kubrick did this for many reasons. First, he decided to use a high-angle shot to show the audience the whole environment and to have the entire action in the scene. In this case, it was Danny playing with his toy trucks. Having the full carpet print in view again follows the idea of mazes and structure throughout the movie since the Overlook Maze is heavily referenced, and as the hotel is so big, it is a maze to get around. Another reason could be because High-angle shots are typically used to diminish a character making them appear small, weak or vulnerable. In this case, Danny is a small boy alone in a big paranormal hotel, which already makes him vulnerable.
In the scene where Wendy discovered that Jack’s ‘hard work’ had only been a repeat of the sentence “All work and no play makes Jack, a dull boy”, a low-angle shot is used to show her reaction to this. This is a crucial decision as Kubrick wanted the viewers to see the emotions on Wendy’s face and create tension as the audience is curious about what Wendy is so shocked about.
Lastly, There is a scene where Jack is looking at a replica of the Overlook maze, and it cuts to a Bird’s eye view shot of Danny and Wendy in the middle of a maze. This bird’s eye view was a very creative and effective shot for two reasons. Firstly, it shows how small these people are compared to their environment and gives the denotation that not only is this a maze but that the characters are lost and cannot be found easily. The second reason that Kubrick could have used this shot is to show how Jack stands over the maze, watching and controlling his family’s every move.
The last cinematography technique I will be discussing is the use of movement.
One of the most influential pieces of movement is the use of ‘Kubrick Zoom’. This is used many times throughout the film. Kubrick uses it so that his characters appear locked within the frame, and shots are presented like paintings. This also creates a sense of suspense for the viewers and is used so that the viewers aren’t distracted by anything in the background and only focus on the actor’s face. In this case, it was Jack, as we see him going insane.
Lastly, Stanley Kubrick was a big fan of using long continuous shots. He did this by using a tracking shot over a prominent location. It creates a connection between the character and the viewers as they are experiencing the same action and movement simultaneously. One of the most famous uses is when Danny was riding his bike in the hallway. This gives a frightening feeling to the audience as they can anticipate that something will be around the corner to scare themselves and Danny.
DEEP FOCUS:
Deep focus shots can offer more information to the viewer. This allows the viewer’s eyes to explore the scene at their own pace and allows dynamic action to play out in many places.
SHALLOW FOCUS:
These shots are used for many reasons. Some include creating a romantic effect, isolating a subject, guiding the audience’s attention, and suggesting a character’s emotional state. However, this is mainly used to direct the audience’s attention and ensure they are paying attention to what is important in the scene.
RACK FOCUS:
A rack focus is used to reveal elements in a shot or create a connection between them. However, they are most commonly known for directing the viewers attention from one object or person to another without cutting the shot.
