Set Design

The set design in the opening scene where Arthur’s sign is broken is a very effective introduction to the world of the movie and the life of Arthur. Having the only bright and joyous thing injured and broken on the ground sets the hopeless tone and themes of the film, and having him be surrounded by bags of trash conveys to the audience that Arthur is seen this way by the rest of the film’s world; no more than trash to be left on the streets.

Costume

The usage of the clown masks in the train scene, worn by most of the people on the train, demonstrate perfectly the unification of the poor of Gotham, now identifying with Arthur’s actions. However, Arthur still wears much brighter colours in this scene – it can be said that vibrancy in this film represents freedom from oppression, which is something Arthur now has much more of due to his complete rejection of society’s rules and laws.

Space

In the Wayne Manor scene, the usage of space and the lack thereof is highly effective. The incredible distance from the gates to the manor show just how far Arthur is from the life he could’ve had, and, though separated by the gates (demonstrating class divide), there is little space between him and Bruce, which contrasts the previous message by showing that they could’ve each been on either side of the gate were they born into each other’s worlds.

Lighting

The lighting in the comedy club scene is very uncomfortable and oppressive. It feels hot and disorienting. Coming from behind the audience, it also hides their reactions – playing into the audience’s questioning of how reliable the narrator really is. The lights are on Arthur, just like in his dream of appearing on the Murray Show, which fully feeds into his delusions of perceived value.

Composition

We see the stair dancing scene from a low angle, showing the entire set of stairs in the background as Arthur continues to dance down them. These stairs have repeatedly represented the rungs to the ladder of Arthur’s place in the world – but now, instead of struggling to climb, he dances down, and we can see how far he has fallen and are left doubting how much further he can go. The light is behind him now, and he has chosen to abandon it.

Hair and Make-up

The hair and makeup in the scene when Arthur’s two friends visit, before he kills one, is very heavy and realistic. It defies the common movie trope that someone’s plan and downfall goes uninterrupted, and the unfinished, blotchy makeup mixed with the still drying hair fully encapsulates finding someone as they are spiralling.

Film Stock and Aspect Ratio

Joker has an aspect ratio of 1.85:1, helping with it’s long shots, but making it necessary to use other things in the scene to block parts of the camera to create claustrophobic feelings.

Distances:

Picture 1- This is a medium shot where Little’s mid-torso to the top of his head are in the centre of screens focus. This creates a personal connection between us and Little as our eyelines are on the same level. I find it isolates the both of us together, which enhances our connection and feelings of empathy towards Little.

Picture 2- This is between a long shot and medium long shot, where little is once again in the centre of frame. This time we face the side of his body, but still in his peripheral vision. This indicates he is focused in the action he is doing (eating at the table) which isolates us from him, unlike the previous picture. It almost makes us feel like we aren’t seen by Chiron which makes us realise we are just watching his story, instead of participating in it. This may emphasise his loneliness.

Picture 3- This is a Close up, which clearly shows Chiron’s emotion during an intense scene. However this also shows a confident side of himself as he is exposed rather than hidden away.

Movements:

Pictures 1,2 & 3- This is a 360 Tracking shot, where the camera circles these characters multiple times. This creates action and liveliness in the street where business is partaking. Our eyes are constantly moving onto both characters meaning we experience many blind spots where something could spontaneously occur, catching us by suprise.

Pictures 4,5 & 6- This movement is called a free camera, where the person who is filming seems to be handholding and running with the camera. This gives a very shaky and intense scene which snaps us into reality of this experience Little is going through. it makes us feel as if we are running behind him, which intensifies our adrenaline.

Pictures 7,8,9,10 & 11- This is a pan shot, where our focus is directed from Chiron, to his bully, back to Chiron. This almost represents the tension between the two characters as if we were another classmate witnessing this. This creates a childish obsession with the drama of the two characters as we can see other classmates are enjoying what they are watching.

Angles:

Picture 1- This is a birds eye view since we are directly looking below us to see the top of Chiron’s head. This exposes his body which creates a sense of vulnerability, but also gives a sense of setting.

Picture 2- This is a low angle making us look up to Chiron which, in this context of him mothering his mother, represents him as more of an authorative figure than her, and more responsible.

Picture 3- This is a slightly canted angle, which throws off the normality of Chiron’s day which makes a suspense of what is about to happen.