Both London to Brighton and Bullet Boy are British films that deal with the issue of living with crime. The settings and locations are key to how these films portray their criminology to the spectator, and the representations of the characters are often mirrored by the settings they are a part of.
The settings and locations within London to Brighton help to convey a scene of working class. The first scene initiates the spectator into the film with two prostitutes run into a broken down, graffitied public toilet. As the setting moves on to grotty streets and small, grotty flats, the spectator begins to understand that the characters are working class. This conveys the ideal that this may be why they are prostitutes, and indicates that the characters have become involved in this lifestyle of crime due to their working circumstance.
Similarly, the settings and locations of Bullet Boy play a major role in the plot. Not only does it establish the setting, but the view of the back streets of rural London immediately gives an indication of the class of the characters, and suggests that this is significant to the action. Equally, the setting of working class, back street London is suggested to be the main reason Ricky is involved in the drug and gun culture he is trapped within. When talking to Shea, Ricky admits that he wishes to leave, and live somewhere else. He claims himself that the setting of where he lives is why he has a criminal lifestyle, and explains that his only hope of reforming is if he moves somewhere else. Kelly, in London to Brighton, has the same idea. When she and Joanne kill a customer, they flee to Brighton, which has a much calmer, safer setting, as she believes that by embedding themselves in a different, safer city, they can escape the lifestyle of crime and its consequences.
A striking contrast is made with the setting of London to Brighton as the two female leads enter the house of the customer, who is a doctor. It is a vast house that is over-exposed in a washed out white. The walls, floor and ceiling are all bright, pure white. As the audience is aware that he is a doctor, his house has a clinical tone. White also represents purity and innocence, which is contrasted by Joanne herself, in deep scarlet lipstick and jumper. This shocking visual helps to convey her message of innocence. She is young and does not understand the intensity of what she has got herself into, and the clash of red on white represents the defilement of her and her innocence. The colour scheme of this location also portrays the doctor as a false hero. Traditionally, the hero would be dressed in white, and his white house and clothes suggest that he would be the ‘good guy’. In correlation to this, the ‘criminal’ prostitutes are dressed in red and black. This contrast in ideology actually suggests that the higher class characters such as Duncan and Stuart are actually more likely to be involved in more illegal and dangerous lifestyles than the working class characters. Derek and Kelly live within a criminal lifestyle due to their prostitution arrangement, whereas Duncan, even as a doctor, enjoys more deprave, immoral and illegal activities that are more dangerous and with severer consequences than the others. Stuart even lives a lifestyle reminiscent of a ‘king pin’ gang leader; rich, powerful, and criminal.
The idea of youth within Bullet Boy also suggests a reason for their criminal lifestyles. The youthful setting of a club toward the beginning of the film is the setting for the major clash between Wisdom, and the apposing gang. It also underlines Ricky’s unwillingness to rejoin this lifestyle. He is at the club to see his friends, have fun and dance with his girlfriend. However, after a Wisdoms encounter in the bathroom of the club, he summons Ricky away from his chosen pass time and convinces Ricky to accompany him as he threatens the opposing gang member, and kills his dog.
Both films convey the idea of entrapment within the lifestyles of the characters. Therefore, for each, there is a place of openness and serenity. In Bullet Boy, Curtis is often seen to be playing in a large open field. This represents the freedom he has in choosing how to live. He is the youngest character, and so is not immersed in a life of crime as Ricky is. Therefore, if he chooses, he can live free of crime as he grows older, just as he plays in the open field when he is younger. Similarly, the setting of a beach front portrays this ideal for Joanne in London to Brighton. She is only twelve, and so the freedom of how to live her life is still apparent, if she can only free herself from this situation. As she and Kelly sit on the beach front, Kelly is shown to be sat their smoking, not enjoying or really understanding the significance of their location. Joanne however, is playing with the stones and in the sea. Her youth and innocence understands and enjoys the freedom that the beach and the ocean represent for her. A similar message is also portrayed in another British film, Sweet Sixteen. As the main character reaches his sixteenth birthday, he stands on the beach front and looks out at the ocean. This visual however is used ironically, as by the end of the film he is trapped within his life of crime and its consequences. For Joanne however, this image still represents hope.
In conclusion, London to Brighton conveys many messages and values about living with crime to the spectator, through the convention of settings. Most of these are very similar with other British films such as Bullet Boy. These harrowing films capture, and inform the spectator of how different people have to live within criminal and immoral societies.
Friday, March 27, 2009
Tuesday, March 17, 2009
London to Brighton
London to Brighton is a film by Paul Andrew Williams, and was released in 2006 in Briton. It is an example of British cinema and uses narrative elements to help to covey its messages and values, and represent living with crime in Briton.
The settings and locations within London to Brighton help to convey a scene of working class. The first scene initiates the spectator into the film with two prostitutes run into a broken down, graffitied public toilet. As the setting moves on to grotty streets and small, grotty flats, the spectator begins to understand that the characters are working class. This conveys the ideal that this may be why they are prostitutes, and indicates that the characters have become involved in this lifestyle of crime due to their working circumstance. A striking contrast is made with the setting as the two female leads enter the house of a doctor. It is a vast house that is over-exposed in a washed out white. The walls, floor and ceiling are all bright, pure white. As the audience is aware that he is a doctor, his house has a clinical tone. White also represents purity and innocence, which is contrasted by Joanne herself, in deep scarlet lipstick and jumper. This shocking visual helps to convey her message of innocence. She is young and does not understand the intensity of what she has got herself into, and the clash of red on white represents the defilement of her and her innocence.
In terms of narrative structure, London to Brighton is set in the female’s point of view. The story follows Kelly and Joanne as they live out the consequences of what they are involved in. This allows the spectator to live as one of them, become involved in their characters and understand what they are going through. However, it is also clear that within this text, the male characters have the authority. Derek, for example, is Kelly’s pimp, and not only sways her into this scenario, but ropes Joanne in with a series of confusing and unflattering questions. Duncan’s depravity is clear from the moment his name is mentioned, but his full lust for power is only revealed at the end as Joanne reveals his action of tying her down and trying to cut her. Stuart, of course, is at the top of the pyramid of power, and his gang-leader bravado and stony glare do not wield throughout the film, as he manipulates all the characters into his idea of a just punishment. The value that is being portrayed is one that women are nothing but helpless victims. Kelly, although the adult in charge and supposedly in control of the situation, is merely used as an object by Derek, and a pawn by Stuart. The male dominance suggests that women are helpless, and can only be coerced by men into doing whatever they like; innocent and nieve.
The main value that the film conveys is the idea of motherhood. Although the characters have only just met, Kelly feels immediately responsible for Joanne, who lost her own mother recently. The two bandy together in an ‘us-against-them’ unity that brings out the value of motherhood through the indication that, as a woman, Kelly cannot resist her maternal instincts, and Joanne, as a young girl, seeks only a female role modal. This also relates to the representation of women within Sweet Sixteen and Bullet boy. Although London to Brighton is the only one of these to follow a female point of view, their presence within the narrative is a common theme. Within the other two films, the only female characters are mothers/sisters/girlfriends; side characters that are only shown in how the male characters affect them.
Within Bullet Boy and London to Brighton, it is also a common ideology that everyone smokes, and conducts in licentious sex. The first thing Ricky does when he leaves prison in Bullet boy is light up a cigarette. Similarly, the first thing Joanne says to Kelly is her asking for a cigarette. This is not a common visual in contempory films, as the health risks have become a wide spread fear among society. However, this does convey the idea that criminals and possibly even the working class as a majority do smoke. In the same way, one of the first things Ricky does when he leaves prison is to have sex with his girlfriend. London to Brighton’s main theme is sex, with the characterisation of prostitutes, pimps, and paedophiles. The norm of sex, smoking, drinking etc that is being portrayed through these films gives the spectator the message that these are common values within these societies; meaning Briton, and the working class.
In conclusion, London to Brighton conveys many messages and values to the spectator. Most of these are very similar with other British films such as Bullet Boy and Sweet Sixteen. These harrowing films capture, and inform the spectator of how different people have to live within criminal and immoral societies.
The settings and locations within London to Brighton help to convey a scene of working class. The first scene initiates the spectator into the film with two prostitutes run into a broken down, graffitied public toilet. As the setting moves on to grotty streets and small, grotty flats, the spectator begins to understand that the characters are working class. This conveys the ideal that this may be why they are prostitutes, and indicates that the characters have become involved in this lifestyle of crime due to their working circumstance. A striking contrast is made with the setting as the two female leads enter the house of a doctor. It is a vast house that is over-exposed in a washed out white. The walls, floor and ceiling are all bright, pure white. As the audience is aware that he is a doctor, his house has a clinical tone. White also represents purity and innocence, which is contrasted by Joanne herself, in deep scarlet lipstick and jumper. This shocking visual helps to convey her message of innocence. She is young and does not understand the intensity of what she has got herself into, and the clash of red on white represents the defilement of her and her innocence.
In terms of narrative structure, London to Brighton is set in the female’s point of view. The story follows Kelly and Joanne as they live out the consequences of what they are involved in. This allows the spectator to live as one of them, become involved in their characters and understand what they are going through. However, it is also clear that within this text, the male characters have the authority. Derek, for example, is Kelly’s pimp, and not only sways her into this scenario, but ropes Joanne in with a series of confusing and unflattering questions. Duncan’s depravity is clear from the moment his name is mentioned, but his full lust for power is only revealed at the end as Joanne reveals his action of tying her down and trying to cut her. Stuart, of course, is at the top of the pyramid of power, and his gang-leader bravado and stony glare do not wield throughout the film, as he manipulates all the characters into his idea of a just punishment. The value that is being portrayed is one that women are nothing but helpless victims. Kelly, although the adult in charge and supposedly in control of the situation, is merely used as an object by Derek, and a pawn by Stuart. The male dominance suggests that women are helpless, and can only be coerced by men into doing whatever they like; innocent and nieve.
The main value that the film conveys is the idea of motherhood. Although the characters have only just met, Kelly feels immediately responsible for Joanne, who lost her own mother recently. The two bandy together in an ‘us-against-them’ unity that brings out the value of motherhood through the indication that, as a woman, Kelly cannot resist her maternal instincts, and Joanne, as a young girl, seeks only a female role modal. This also relates to the representation of women within Sweet Sixteen and Bullet boy. Although London to Brighton is the only one of these to follow a female point of view, their presence within the narrative is a common theme. Within the other two films, the only female characters are mothers/sisters/girlfriends; side characters that are only shown in how the male characters affect them.
Within Bullet Boy and London to Brighton, it is also a common ideology that everyone smokes, and conducts in licentious sex. The first thing Ricky does when he leaves prison in Bullet boy is light up a cigarette. Similarly, the first thing Joanne says to Kelly is her asking for a cigarette. This is not a common visual in contempory films, as the health risks have become a wide spread fear among society. However, this does convey the idea that criminals and possibly even the working class as a majority do smoke. In the same way, one of the first things Ricky does when he leaves prison is to have sex with his girlfriend. London to Brighton’s main theme is sex, with the characterisation of prostitutes, pimps, and paedophiles. The norm of sex, smoking, drinking etc that is being portrayed through these films gives the spectator the message that these are common values within these societies; meaning Briton, and the working class.
In conclusion, London to Brighton conveys many messages and values to the spectator. Most of these are very similar with other British films such as Bullet Boy and Sweet Sixteen. These harrowing films capture, and inform the spectator of how different people have to live within criminal and immoral societies.
Monday, March 9, 2009
Analysis of Bullet Boy with reference to Sweet Sixteen
Bullet Boy is a British film by Saul Dibb that was released in 2004. Its use of narrative features help to portray a harrowing tale about race, class, gangs and gun crime. The film follows the life of Ricky after he has got out of prison, and his effect on the lives of those around him. It draws on many of the same aspects of another British film Sweet Sixteen.
The settings and locations of Bullet Boy play a major role in the plot. Not only does it establish the setting, but the view of the back streets of rural London immediately gives an indication of the class of the characters, and suggests that this is significant to the action. This mirrors the setting in Scotland in Sweet Sixteen. This too was shot in a lower class rural area.
The establishing sequence of Bullet Boy allows us to see a contrasting parallel action of setting, beginning with Curtis trapped within a darkened boot of a car. He is small and confined in this space with very little lighting. Immediately this image is contrasted by the view of Ricky, also trapped, but within a small room that has been washed out in white and is shown in a bright, almost over exposed light. This method of editing using parallel action in contrast is used throughout the film, and allows us to see the connection between the characters. In reference to setting for example, when Ricky is released from prison his mother throws him a ‘welcome back’ party. This scene shows a civilised diner party with many adults in a warm red lighted house. In parallel however, Ricky is seen to be out clubbing with his friends. This setting contains very dark lighting, and the characters of young, wild clubbers. The effect of this is that the spectator can begin to understand how Ricky is pulling away from his family, and that he chooses his friends as the most important people in his life.
The characterisation in Bullet Boy is also highly influential to the plot. The roles and functions of each character work subtly to influence the other characters and the situations within the film. For example, the character of wisdom is what Propp described as the false hero/anti hero. Whilst not a villain, Wisdom does influence the protagonist Ricky in a negative way throughout the film narrative, and leads him astray. An example of this is shown when Ricky has only just got out of prison, and just wishes to reunite with all his friends and girlfriend. However, Wisdom convinces him to leave them behind and accompany him as he attempts to win back his reputation. This results in him killing a man’s dog, and Ricky’s reaction tells the spectator that he did not want anything to do with this. The character of Wisdom is also the one who convinced Ricky to keep the gun, which is what led on to all the issues within the film.
Similarly, within Sweet Sixteen, the character of Pinball mirrors the character of wisdom. For example, towards the beginning of the film, Pinball attempts to make Liam take a knife, just as wisdom attempted to make Ricky take a gun. Also, when most of the trouble the two fifteen year olds had got into seemed to die down, Pinball created even more trouble by stealing the gang boss’s car and crashing it into his club. Liam’s reaction to this, and to having to deal with it allows the spectator to see that he is essentially good natured, and creates sympathy for him, rather like that which the audience feel in reference to Ricky.
In terms of ideology, Bullet Boy has a strong sense of unity and brotherhood. For example, at the beginning of the film, when Ricky asks his little brother Curtis whether he has been keeping an eye on his girlfriend, Curtis asks what was in it for him. To this, Ricky simply says, ‘You’re my brother. You should just do these things for me.’ Consistently throughout the film, the word ‘Brethren’ is also stated. Although a slang word for friend, it does represent the closeness between them, as they are constantly comparing their bond of friendship to the bond of brothers. This especially applies to when they simply use this term to explain why they do things. For example, when Shea asks Ricky why he would violate his probation terms, Ricky reasons, ‘because he’s my Brethren.’ This allows the spectator to understand why Ricky is always in trouble, as he is just looking out for his unstable friend out of loyalty. This creates spectators sympathy for Ricky, and also links to the wider issue of class.
By the setting we are able to see that both Bullet Boy and Sweet Sixteen take place in lower class, rural areas. This representation of lower class characters allows the spectator to understand this sense of unity more. For example, in Sweet Sixteen, there is also a strong sense of unity, especially between Liam and his sister. The spectator can see that this is at least party due to their class as Chantelle says, ‘You and Calum are all I’ve got.’ This idea of dependency upon each other shows the spectator, within both narratives, that they do not have much else in their lives.
In conclusion, both Bullet Boy and Sweet Sixteen are both harrowing and dramatic British films. With a fast sense of spinning out of control in Sweet Sixteen, and the continuing theme of entrapment within unwanted lives and situations in Bullet Boy, both films display their narratives through many different film features to the spectator.
The settings and locations of Bullet Boy play a major role in the plot. Not only does it establish the setting, but the view of the back streets of rural London immediately gives an indication of the class of the characters, and suggests that this is significant to the action. This mirrors the setting in Scotland in Sweet Sixteen. This too was shot in a lower class rural area.
The establishing sequence of Bullet Boy allows us to see a contrasting parallel action of setting, beginning with Curtis trapped within a darkened boot of a car. He is small and confined in this space with very little lighting. Immediately this image is contrasted by the view of Ricky, also trapped, but within a small room that has been washed out in white and is shown in a bright, almost over exposed light. This method of editing using parallel action in contrast is used throughout the film, and allows us to see the connection between the characters. In reference to setting for example, when Ricky is released from prison his mother throws him a ‘welcome back’ party. This scene shows a civilised diner party with many adults in a warm red lighted house. In parallel however, Ricky is seen to be out clubbing with his friends. This setting contains very dark lighting, and the characters of young, wild clubbers. The effect of this is that the spectator can begin to understand how Ricky is pulling away from his family, and that he chooses his friends as the most important people in his life.
The characterisation in Bullet Boy is also highly influential to the plot. The roles and functions of each character work subtly to influence the other characters and the situations within the film. For example, the character of wisdom is what Propp described as the false hero/anti hero. Whilst not a villain, Wisdom does influence the protagonist Ricky in a negative way throughout the film narrative, and leads him astray. An example of this is shown when Ricky has only just got out of prison, and just wishes to reunite with all his friends and girlfriend. However, Wisdom convinces him to leave them behind and accompany him as he attempts to win back his reputation. This results in him killing a man’s dog, and Ricky’s reaction tells the spectator that he did not want anything to do with this. The character of Wisdom is also the one who convinced Ricky to keep the gun, which is what led on to all the issues within the film.
Similarly, within Sweet Sixteen, the character of Pinball mirrors the character of wisdom. For example, towards the beginning of the film, Pinball attempts to make Liam take a knife, just as wisdom attempted to make Ricky take a gun. Also, when most of the trouble the two fifteen year olds had got into seemed to die down, Pinball created even more trouble by stealing the gang boss’s car and crashing it into his club. Liam’s reaction to this, and to having to deal with it allows the spectator to see that he is essentially good natured, and creates sympathy for him, rather like that which the audience feel in reference to Ricky.
In terms of ideology, Bullet Boy has a strong sense of unity and brotherhood. For example, at the beginning of the film, when Ricky asks his little brother Curtis whether he has been keeping an eye on his girlfriend, Curtis asks what was in it for him. To this, Ricky simply says, ‘You’re my brother. You should just do these things for me.’ Consistently throughout the film, the word ‘Brethren’ is also stated. Although a slang word for friend, it does represent the closeness between them, as they are constantly comparing their bond of friendship to the bond of brothers. This especially applies to when they simply use this term to explain why they do things. For example, when Shea asks Ricky why he would violate his probation terms, Ricky reasons, ‘because he’s my Brethren.’ This allows the spectator to understand why Ricky is always in trouble, as he is just looking out for his unstable friend out of loyalty. This creates spectators sympathy for Ricky, and also links to the wider issue of class.
By the setting we are able to see that both Bullet Boy and Sweet Sixteen take place in lower class, rural areas. This representation of lower class characters allows the spectator to understand this sense of unity more. For example, in Sweet Sixteen, there is also a strong sense of unity, especially between Liam and his sister. The spectator can see that this is at least party due to their class as Chantelle says, ‘You and Calum are all I’ve got.’ This idea of dependency upon each other shows the spectator, within both narratives, that they do not have much else in their lives.
In conclusion, both Bullet Boy and Sweet Sixteen are both harrowing and dramatic British films. With a fast sense of spinning out of control in Sweet Sixteen, and the continuing theme of entrapment within unwanted lives and situations in Bullet Boy, both films display their narratives through many different film features to the spectator.
Wednesday, March 4, 2009
Sound in Eternal Sunshine
Eternal Sunshine of the Spotless Mind is a complicated film by Michel Gondry follows the meeting of Joel and Clementine, only to reveal that they had a two year relationship beforehand, which was then erased through a mental medical procedure, leaving them both with no memory of each other. The film begins following Joel just after his operation, and his sense of confusion is mirrored by the audience, as they also have no idea who he is or what he has done/will do. Sound is a useful device to enthral the audience, confuse them, and give them action codes and tantalising hints to the plot to come.
Firstly, as Joel is waking up, no music is playing. He is clearly still in a sense of foggy dreaming and so the first sound we hear is the first sound to really rouse him; the slamming of a car door. We then hear the car begin to drive away. This alerts the audience to the fact that the person who has just driven away, may in fact have been with him the night before, or not supposed to be there at all (such as a thief), or even just a casual noise outside. Immediately it creates curiosity within the spectator, and a drive to continue watching.
Slow, sad piano music is then introduced as the prolonged diagetic sound of rustling bed sheets alerts the spectator to his unwillingness to remove himself from the comfort of his bed. Then, a simple, major tune begins over the top of the slow melancholy music, contrasting with itself and giving the scene a bitter-sweet tone with this contrapuntal, happy music.
Firstly, as Joel is waking up, no music is playing. He is clearly still in a sense of foggy dreaming and so the first sound we hear is the first sound to really rouse him; the slamming of a car door. We then hear the car begin to drive away. This alerts the audience to the fact that the person who has just driven away, may in fact have been with him the night before, or not supposed to be there at all (such as a thief), or even just a casual noise outside. Immediately it creates curiosity within the spectator, and a drive to continue watching.
Slow, sad piano music is then introduced as the prolonged diagetic sound of rustling bed sheets alerts the spectator to his unwillingness to remove himself from the comfort of his bed. Then, a simple, major tune begins over the top of the slow melancholy music, contrasting with itself and giving the scene a bitter-sweet tone with this contrapuntal, happy music.
Monday, January 12, 2009
Cult films
Is it just me, or is the title of a 'Cult Film' extremely misunderstood? Films that have a SMALL but devoted audience, and often differ from the norm. For example, they are often dark, alternative, or just unconventional. According to this, many films such as Sin City, Shawshank Redemption and The Nightmare Before Christmas would be seen as Cult Classics. But Hollywood has taken this title from them. By becoming mainstream they loose their Cult status. This is arguably a good circumstance as it allows the directors, producers, actors etc to gain more money, allowing them success and ability to create more films. However, it does mean that films such as these ARE NOT cult films. Cult films have no celebrities (or have celebrities before they became famous) and a very low budget. Chances are, if its a true Cult Classic, you have not heard of it. Therefore, take this list with a pinch of salt:
http://www.filmsite.org/cultfilmsew.html
http://www.filmsite.org/cultfilmsew.html
Wednesday, January 7, 2009
Use of Sound and Mise en scene in Practical Magic
The contrast between the two sisters in Practical Magic is shown predominantly in this scene where they both write to each other about their lives. The normally diagetic sound of both their voices is shown in a non-diagetic fashion, as it provides a narration to the montage portraying the way they live. The contrast is shown immediately through their tone of voices. Sally, the sensible sister who just wants to be normal, has a light, bubbaly tone as she is describing her married life. Jilly, however, when introduced provides a soft, alluring tone that represents the seductive nature of her life.
The non-diagetic music also shows the contrast between the two sisters. As Sally is running to meet her future husband, the song laying is light, happy, bubbly and innocent, reflecting her nature and the nature of their relationship. The same song is being played as it switches from Sally to Gillian, and the way the same song is portrayed gives further contrast of their lives. The music is a low, partying tune, and so Sally is seen dancing around her living room with her husband and kids. The scene fades to Gillian using a sound bridge, and shows her seductively dancing to the music by the pool side with many topless men.
The music fades into another song, providing another sound bridge. This song is even lower, with more drum, and provides an even more seductive tone to the scene. Her narration becomes husky and scattered, showing her excitement at the prospect of the man she is approaching. The music also mirrors her feelings towards him, and follows her journey to him down the hallway. It draws parallel between the seductive tune, and the way she is walking.
The diagetic sounds also provide contrast between the two sisters. During Sally’s clip, the diagetic background noises consist of joyful laughter and playful screams from her two children.
However, during Gillian’s clip, the diagetic background noises consist of splashes in the pool, carefree laughter and bottles being opened.
Throughout the film, but especially in this scene, the two sisters are shown in different lights. Sally, the older, sensable, motherly one, is often shown in bright, natural lighting to show her angelic nature. Gillian, the younger, seductive, reckless one is mostly shown in darker lighting, and often artifitial to reflect her darker, more sinister nature.
The use of props within the scene not only provides further contrast, but also act as action codes to the spectator.
In Sally’s scene, props consist of apples and bicycles. Later on, her husband is nearly killed by bicycles and so drops a crate of apples.
In Gillian’s scene, props consist of cigarettes, beer, and Jimmy’s ring. Later on, he tries to brand her with his ring using a cigarette lighter, whilst drunk.
Even their different hair colours show traits of their personality. Brunette, being the most common hair colour, shows how all Sally wants is to fit in and be normal. Gillian, however, is a fiery red-head.
Finally, the performances of Nicole JKidman and Sandra Bullock manipulate the spectators view of the characters. Nicole Kidman is constantly fixed with a cheeky smile, and seeks personal contact with other characters. Sandra Bullock, however, is always seen crossing her arms and donning a serious expression.
The non-diagetic music also shows the contrast between the two sisters. As Sally is running to meet her future husband, the song laying is light, happy, bubbly and innocent, reflecting her nature and the nature of their relationship. The same song is being played as it switches from Sally to Gillian, and the way the same song is portrayed gives further contrast of their lives. The music is a low, partying tune, and so Sally is seen dancing around her living room with her husband and kids. The scene fades to Gillian using a sound bridge, and shows her seductively dancing to the music by the pool side with many topless men.
The music fades into another song, providing another sound bridge. This song is even lower, with more drum, and provides an even more seductive tone to the scene. Her narration becomes husky and scattered, showing her excitement at the prospect of the man she is approaching. The music also mirrors her feelings towards him, and follows her journey to him down the hallway. It draws parallel between the seductive tune, and the way she is walking.
The diagetic sounds also provide contrast between the two sisters. During Sally’s clip, the diagetic background noises consist of joyful laughter and playful screams from her two children.
However, during Gillian’s clip, the diagetic background noises consist of splashes in the pool, carefree laughter and bottles being opened.
Throughout the film, but especially in this scene, the two sisters are shown in different lights. Sally, the older, sensable, motherly one, is often shown in bright, natural lighting to show her angelic nature. Gillian, the younger, seductive, reckless one is mostly shown in darker lighting, and often artifitial to reflect her darker, more sinister nature.
The use of props within the scene not only provides further contrast, but also act as action codes to the spectator.
In Sally’s scene, props consist of apples and bicycles. Later on, her husband is nearly killed by bicycles and so drops a crate of apples.
In Gillian’s scene, props consist of cigarettes, beer, and Jimmy’s ring. Later on, he tries to brand her with his ring using a cigarette lighter, whilst drunk.
Even their different hair colours show traits of their personality. Brunette, being the most common hair colour, shows how all Sally wants is to fit in and be normal. Gillian, however, is a fiery red-head.
Finally, the performances of Nicole JKidman and Sandra Bullock manipulate the spectators view of the characters. Nicole Kidman is constantly fixed with a cheeky smile, and seeks personal contact with other characters. Sandra Bullock, however, is always seen crossing her arms and donning a serious expression.
The use of Sound and Mise en Scene in Brick
The use of Sound and Mise en Scene in Brick
Laura’s Party/Meeting Dode
The Film Brick was written and directed by Rian Johnson. It was released in the UK on the 12th of May 2006, but first premiered in the USA at the Sundance Film Festival in January 2005. It pays homage to Film Nior, but is based in a high school, making it an unusual hybrid genre, and allowing the use of sound and mise en scene to represent and convey different thoughts, feelings and opinions to the spectators.
The scene in which the protagonist Brendan attends Laura’s ‘Halloween in January’ party, and then goes on to meet the ‘lowly stoner’ Dode, uses sound and mise en scene to represent these two characters and places and create opinions about them for the spectator.
When Brendan first steps into Laura’s house, the setting immediately informs the audience that she is of a high social economic status. The use of a large, spacious house with tall ceilings, marble floors and carved wooden furnishings represents a very wealthy family. Laura is now established as rich. The use of sound, however, narrows this representation into one of sophistication. The soft, sophisticated piano music that Laura herself is playing as Brendan enters shows that she is intelligent, elegant and classy. Sound and mise en scene work together to create an image of perfection for Laura, as the diagetic piano music is parallel to the use of Champagne glasses, a grand piano, and many glass vases and glass cabinets.
The use of glass in itself is a subtle action code to the spectator. Placing glass (cabinets, tumblers, vases etc.) as an allegory for Laura’s life subconsciously reminds the spectator of how easily life can fall apart (or, using the glass metaphor, break). The use of it as a prop enforces the view of a lavish and expensive interior, but also provides an action code that Laura’s easy, glamorous and drug-addicted life may well shatter by the end of the film.
The image portrayed by this scene of a party that the audience already knows contains strong illegal drugs, converts and glamorizes the images of this type of party that is often shown on the news. For example, in 2007, the teenager of the Bells’ threw a party containing liberal amounts of drugs and alcohol, and as a result caused £25,000 worth of damage to the family home. However, the actual ‘partying’ that is seen in this scene consists of old fashioned jazz music as the diagetic accompaniment, and little or no dancing. The partygoers themselves mirror the lifestyle that Laura portrays. They are also sophisticated; wearing costumes, playing piano, reciting poetry and drinking martinis or tumblers of whiskey. This glamorous image makes the spectator aspire to be part of the scene, and become one of the sophisticated people at this luxurious party.
The use of costume portrays set images of the characters, both strait and ironic, to the spectator. Brad Bramish, the ‘High School Jock’ that is supposedly a powerful drug dealer (though is often referred to as a ‘sap’) is darned in an outfit reminiscent of that of ancient Greek. This costume, coupled with the image of him surrounded by people and giving a speech, is providing an image of philosophers (such as Aristotle, Plato etc.). This demonstrates, through pure irony, the image the other characters (and therefore the spectator) have of him. His costume is in contrast with the Neanderthal, brutish and some what idiotic nature of the character.
Brendan, however, is dressed in plain, dull colours. This is a striking contrast to Laura’s costume, which further underlines the difference in their characters. Brendan is clearly more concerned with other peoples welfare. His lack of interest in changing or particularly glamorizing his clothes shows his concentration upon his mission to find out what has happened to his ex-girlfriend Emily.
Laura, in contrast, is instantly noticeable in a crowd with her use of costume. It contrasts strikingly to Brendan’s, with a tight-fitting deep scarlet dress. According to colour psychology, red is the most emotionally intense colour, and red clothing gets noticed. Therefore, Laura’s importance within the film is underlined once more. The effect this has on the spectator allows them to become wary of Laura. Red is traditionally associated with danger, and can act as a warning to the spectator not to trust the character dressed in red. However, it can also be seen as the colour of passion and lust, encouraging a feeling of closeness and/or sexual tension between the main female and male protagonists. Laura is dangerous. The mixed signals of danger, sex, lust and blood all collaborate to warn against her, and ensure the spectator is suspicious of her throughout the film.
Her costume also includes a red ribbon and flowers in her hair. With all the connotations of her character, these accessories seem out of place. They are traditionally feminine (or, ‘girley’), and therefore convert her image of power, dominance and independence. Contrasting to the rest of her costume, these aspects confuse the spectator, and imply that the use of such ‘innocent’ decorations may in fact be the real ‘costume’ she is wearing, not just for the party, but in her social life. The spectator becomes wary of her, and is invited to be curious about the ‘real’ Laura, and wish to see her without her social costume.
The femininity represented by these accessories links back to the use of sound. When Brendan leaves the room, the spectator expects Laura to follow him, as the music then changes back to (this time non-diagetic) soft piano music, which the audience now associates with Laura. The soft, smooth lament of piano is mixed with sporadic high notes which add a feminine touch to the tone of the scene. As expected, the scene is then punctured by the diagetic sound of Laura’s high heels walking across the marble floor. This sound alone connotes sophistication and femininity. Repetitive reminders of Laura’s femininity within the use of sound and mise en scene hold her sexuality in high recognition. Her interest in Brendan, and what he wants, is therefore constantly underlined by a tone of sexuality, and ensures Laura’s prolonged presence within his investigation. It also allows the spectator to view the character and relationship development between them, as they become aware that she is likely to play a larger part in the film than first thought.
When they sit in a room alone together, this sexual tone is continued. The soft, seductive tone of voice she is using is herd just over the top of the soft crackling of the fireplace and low, seductive music. This would all provide a distraction for Brendan, and so his strength of character and determination for his mission is shown in his disinterest of his surroundings. In terms of mise en scene, the low lighting caused by the fire place and candles parallel the use of sound.
Laura gets a hurried, just out of earshot message, and so leaves the room. Again, the feminine and glamorous clicking of her stilettos on the marble floor highlights the sexual femininity of her character. In contrast, Brendan runs after her to find out what she is doing, and the diagetic sounds of his footfalls are heavy and purposeful. This shows his disenchantment towards Laura’s seduction, and, when paired with the low, tension-building music, links to the film noir genre, and connotes a feeling of mystery and excitement to the spectator.
When Brendan covertly spies on Laura’s conversation with Tug, the audience are able to see, from his point of view, the use of dark lighting within the scene. It clearly represents the secret and dark tone of the conversation, and allows the spectator to follow Brendan’s thought track that Laura is involved in something troublesome. The solitary street lamp that illuminates their conversation suggests that each of them feel they are ‘in the know’. The diagetic sound of their discussion is low and just out of earshot, which frustrates the spectator along with Brendan, and increases their curiosity, ensuring they maintain their capture of the film.
As this scene ends, there is an almost graphic match to link the place where the character of Dode spends his time, to Laura’s house. However, this is purposely not achieved, as Laura’s large, grand house cannot be matched with a small and shabby Diner.
Here, the simple, monotonic non-diagetic music instantly represents the simple minds of the present characters. It connotes the wider issue of brain damage in drug users. This is enforced by the diagetic sound of someone blowing on a straw. This irritating diagetic sound connotes idiotic, simplistic characters, immediately providing a contrast between the sophisticated and classy characters in the last scene, socialising to jazz and piano music. Therefore, the spectator, simply from seeing this small contrast would inevitably wish to become more like one of Laura’s friends, rather than Dode’s.
In terms of mise en scene, the use of costume also contrasts strikingly to the last scene. Dode’s friends are seen in dirty, baggy clothing and hats, with long, dirty hair. The social connotation of traditional ‘grungers’ links to bands such as Nirvana, and so allows the audience to assume that these characters are strong drug users.
Dode himself has pale makeup and dark circles round his eyes, which connote illness and assure the audience they have the right stereotype for this group of characters. This image leaves the spectator believing that the character of Dode is ill. His complexion suggests he does not get much sunlight or nutritious food. The connotations of smoking cannabis are represented through this, and discourage the audience to follow his example, lest they begin to become like Dode.
In reference to props, the use of ‘joints’, a straw, trolleys and bins not only provide further contrast to Laura’s house and friends, but also link to much wider issues in society. The spectator is reminded of the poor and homeless, and concludes that this state of live is achieved through the taking of cannabis.
The contrast shown through mise en scene and sound between these to places and characters show a strong, and on the surface, moral undertone. Dode and his friends are homeless, poor, dirty, and brain damaged because they smoke cannabis. Laura does not, and she is show to have the life that is viewed as ideal within our contemporary society. However, it transpires that Laura is also a drug addict, but is partial to drugs in a much higher legal class, and far more damaging in the long term and shot term. The difference in damage and addiction between the two different types of drugs that Dode and Laura take leaves the spectator confused and wary; Laura clearly has a better life than Dode, but takes even more harmful and addictive drugs. The spectator is almost left to believe that Brick is glamorising the use of Heroine and Cocaine.
Brick uses sound and mise en scene to capture, maintain and inform its audience, as well as represent its characters. On a surface level, it seems to glamorise drug abuse, with the lavish and sophisticated life of Laura by example. The constant link between sex and drugs shown within the film would clearly make drugs an appealing option to most spectators. However, the representation of the characters, especially as they are portrayed through contrast (provided by sound and mise en scene), show an attempt to teach and to discourage the audience. Drugs are not presented, in their entirety, in a negative way, but the gateway theory of cannabis use is highly discouraged through the unappealing representation of those characters within in the text that use it. Young people who smoke marijuana are two to five times more likely to move on to harder drugs, and Brick attempts to combat the wider issue of inevitably moving on to harder and more dangerous drugs through the use of cannabis, by discouraging the latter.
Gripping and immensely intriguing, Brick achieves a moral, legal and health related message without patronising or insulting the spectator. Without the face value, ‘Don’t do drugs Kids!’ message, the film gains the popularity and trust of the audience, and leaves them discouraged from drug abuse, whilst feeling respected. This perfect medium is shown through the contrast provided by sound and mise en scene.
Laura’s Party/Meeting Dode
The Film Brick was written and directed by Rian Johnson. It was released in the UK on the 12th of May 2006, but first premiered in the USA at the Sundance Film Festival in January 2005. It pays homage to Film Nior, but is based in a high school, making it an unusual hybrid genre, and allowing the use of sound and mise en scene to represent and convey different thoughts, feelings and opinions to the spectators.
The scene in which the protagonist Brendan attends Laura’s ‘Halloween in January’ party, and then goes on to meet the ‘lowly stoner’ Dode, uses sound and mise en scene to represent these two characters and places and create opinions about them for the spectator.
When Brendan first steps into Laura’s house, the setting immediately informs the audience that she is of a high social economic status. The use of a large, spacious house with tall ceilings, marble floors and carved wooden furnishings represents a very wealthy family. Laura is now established as rich. The use of sound, however, narrows this representation into one of sophistication. The soft, sophisticated piano music that Laura herself is playing as Brendan enters shows that she is intelligent, elegant and classy. Sound and mise en scene work together to create an image of perfection for Laura, as the diagetic piano music is parallel to the use of Champagne glasses, a grand piano, and many glass vases and glass cabinets.
The use of glass in itself is a subtle action code to the spectator. Placing glass (cabinets, tumblers, vases etc.) as an allegory for Laura’s life subconsciously reminds the spectator of how easily life can fall apart (or, using the glass metaphor, break). The use of it as a prop enforces the view of a lavish and expensive interior, but also provides an action code that Laura’s easy, glamorous and drug-addicted life may well shatter by the end of the film.
The image portrayed by this scene of a party that the audience already knows contains strong illegal drugs, converts and glamorizes the images of this type of party that is often shown on the news. For example, in 2007, the teenager of the Bells’ threw a party containing liberal amounts of drugs and alcohol, and as a result caused £25,000 worth of damage to the family home. However, the actual ‘partying’ that is seen in this scene consists of old fashioned jazz music as the diagetic accompaniment, and little or no dancing. The partygoers themselves mirror the lifestyle that Laura portrays. They are also sophisticated; wearing costumes, playing piano, reciting poetry and drinking martinis or tumblers of whiskey. This glamorous image makes the spectator aspire to be part of the scene, and become one of the sophisticated people at this luxurious party.
The use of costume portrays set images of the characters, both strait and ironic, to the spectator. Brad Bramish, the ‘High School Jock’ that is supposedly a powerful drug dealer (though is often referred to as a ‘sap’) is darned in an outfit reminiscent of that of ancient Greek. This costume, coupled with the image of him surrounded by people and giving a speech, is providing an image of philosophers (such as Aristotle, Plato etc.). This demonstrates, through pure irony, the image the other characters (and therefore the spectator) have of him. His costume is in contrast with the Neanderthal, brutish and some what idiotic nature of the character.
Brendan, however, is dressed in plain, dull colours. This is a striking contrast to Laura’s costume, which further underlines the difference in their characters. Brendan is clearly more concerned with other peoples welfare. His lack of interest in changing or particularly glamorizing his clothes shows his concentration upon his mission to find out what has happened to his ex-girlfriend Emily.
Laura, in contrast, is instantly noticeable in a crowd with her use of costume. It contrasts strikingly to Brendan’s, with a tight-fitting deep scarlet dress. According to colour psychology, red is the most emotionally intense colour, and red clothing gets noticed. Therefore, Laura’s importance within the film is underlined once more. The effect this has on the spectator allows them to become wary of Laura. Red is traditionally associated with danger, and can act as a warning to the spectator not to trust the character dressed in red. However, it can also be seen as the colour of passion and lust, encouraging a feeling of closeness and/or sexual tension between the main female and male protagonists. Laura is dangerous. The mixed signals of danger, sex, lust and blood all collaborate to warn against her, and ensure the spectator is suspicious of her throughout the film.
Her costume also includes a red ribbon and flowers in her hair. With all the connotations of her character, these accessories seem out of place. They are traditionally feminine (or, ‘girley’), and therefore convert her image of power, dominance and independence. Contrasting to the rest of her costume, these aspects confuse the spectator, and imply that the use of such ‘innocent’ decorations may in fact be the real ‘costume’ she is wearing, not just for the party, but in her social life. The spectator becomes wary of her, and is invited to be curious about the ‘real’ Laura, and wish to see her without her social costume.
The femininity represented by these accessories links back to the use of sound. When Brendan leaves the room, the spectator expects Laura to follow him, as the music then changes back to (this time non-diagetic) soft piano music, which the audience now associates with Laura. The soft, smooth lament of piano is mixed with sporadic high notes which add a feminine touch to the tone of the scene. As expected, the scene is then punctured by the diagetic sound of Laura’s high heels walking across the marble floor. This sound alone connotes sophistication and femininity. Repetitive reminders of Laura’s femininity within the use of sound and mise en scene hold her sexuality in high recognition. Her interest in Brendan, and what he wants, is therefore constantly underlined by a tone of sexuality, and ensures Laura’s prolonged presence within his investigation. It also allows the spectator to view the character and relationship development between them, as they become aware that she is likely to play a larger part in the film than first thought.
When they sit in a room alone together, this sexual tone is continued. The soft, seductive tone of voice she is using is herd just over the top of the soft crackling of the fireplace and low, seductive music. This would all provide a distraction for Brendan, and so his strength of character and determination for his mission is shown in his disinterest of his surroundings. In terms of mise en scene, the low lighting caused by the fire place and candles parallel the use of sound.
Laura gets a hurried, just out of earshot message, and so leaves the room. Again, the feminine and glamorous clicking of her stilettos on the marble floor highlights the sexual femininity of her character. In contrast, Brendan runs after her to find out what she is doing, and the diagetic sounds of his footfalls are heavy and purposeful. This shows his disenchantment towards Laura’s seduction, and, when paired with the low, tension-building music, links to the film noir genre, and connotes a feeling of mystery and excitement to the spectator.
When Brendan covertly spies on Laura’s conversation with Tug, the audience are able to see, from his point of view, the use of dark lighting within the scene. It clearly represents the secret and dark tone of the conversation, and allows the spectator to follow Brendan’s thought track that Laura is involved in something troublesome. The solitary street lamp that illuminates their conversation suggests that each of them feel they are ‘in the know’. The diagetic sound of their discussion is low and just out of earshot, which frustrates the spectator along with Brendan, and increases their curiosity, ensuring they maintain their capture of the film.
As this scene ends, there is an almost graphic match to link the place where the character of Dode spends his time, to Laura’s house. However, this is purposely not achieved, as Laura’s large, grand house cannot be matched with a small and shabby Diner.
Here, the simple, monotonic non-diagetic music instantly represents the simple minds of the present characters. It connotes the wider issue of brain damage in drug users. This is enforced by the diagetic sound of someone blowing on a straw. This irritating diagetic sound connotes idiotic, simplistic characters, immediately providing a contrast between the sophisticated and classy characters in the last scene, socialising to jazz and piano music. Therefore, the spectator, simply from seeing this small contrast would inevitably wish to become more like one of Laura’s friends, rather than Dode’s.
In terms of mise en scene, the use of costume also contrasts strikingly to the last scene. Dode’s friends are seen in dirty, baggy clothing and hats, with long, dirty hair. The social connotation of traditional ‘grungers’ links to bands such as Nirvana, and so allows the audience to assume that these characters are strong drug users.
Dode himself has pale makeup and dark circles round his eyes, which connote illness and assure the audience they have the right stereotype for this group of characters. This image leaves the spectator believing that the character of Dode is ill. His complexion suggests he does not get much sunlight or nutritious food. The connotations of smoking cannabis are represented through this, and discourage the audience to follow his example, lest they begin to become like Dode.
In reference to props, the use of ‘joints’, a straw, trolleys and bins not only provide further contrast to Laura’s house and friends, but also link to much wider issues in society. The spectator is reminded of the poor and homeless, and concludes that this state of live is achieved through the taking of cannabis.
The contrast shown through mise en scene and sound between these to places and characters show a strong, and on the surface, moral undertone. Dode and his friends are homeless, poor, dirty, and brain damaged because they smoke cannabis. Laura does not, and she is show to have the life that is viewed as ideal within our contemporary society. However, it transpires that Laura is also a drug addict, but is partial to drugs in a much higher legal class, and far more damaging in the long term and shot term. The difference in damage and addiction between the two different types of drugs that Dode and Laura take leaves the spectator confused and wary; Laura clearly has a better life than Dode, but takes even more harmful and addictive drugs. The spectator is almost left to believe that Brick is glamorising the use of Heroine and Cocaine.
Brick uses sound and mise en scene to capture, maintain and inform its audience, as well as represent its characters. On a surface level, it seems to glamorise drug abuse, with the lavish and sophisticated life of Laura by example. The constant link between sex and drugs shown within the film would clearly make drugs an appealing option to most spectators. However, the representation of the characters, especially as they are portrayed through contrast (provided by sound and mise en scene), show an attempt to teach and to discourage the audience. Drugs are not presented, in their entirety, in a negative way, but the gateway theory of cannabis use is highly discouraged through the unappealing representation of those characters within in the text that use it. Young people who smoke marijuana are two to five times more likely to move on to harder drugs, and Brick attempts to combat the wider issue of inevitably moving on to harder and more dangerous drugs through the use of cannabis, by discouraging the latter.
Gripping and immensely intriguing, Brick achieves a moral, legal and health related message without patronising or insulting the spectator. Without the face value, ‘Don’t do drugs Kids!’ message, the film gains the popularity and trust of the audience, and leaves them discouraged from drug abuse, whilst feeling respected. This perfect medium is shown through the contrast provided by sound and mise en scene.
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