Hitchcock auteur

Auteur traits Hitchcock:

- influenced by German expressionism 1920s- Hitchcock worked in Berlin for a period (bright colours/ characters inner feelings presented visually)
- experimental camera techniques e.g. vertigo effect
- voyeurism- male gaze (Madeline- camera shows her from Scotties point of view)

pregnancy and birth scene analysis

Eva's pregnancy and birth:

- alarm clock bright red/flashing- warning
- splitting of cells- Eva sees child birth/pregnancy- unloving/caring about being pregnant- intercut with photocopier- the way she see's pregnancy.
- extreme close up of Eva- audience aligns with her being unhappy about motherhood.
- monotonous diegetic sound of photocopier.
- uses work as a distraction/escape.
-Eva surrounded by pregnant mothers happy about motherhood- expectations of women to be happy.
- young girls run past her- surrounded by motherhood- what is expected of her however she does not want to conform.
- intercuts between prison and pregnancy- she see's pregnancy as a prison.
- cut from prisoner screaming to her screaming in childbirth- she feels trapped and like a prisoner.
- distorted image of Eva reflection while giving birth- the point her life is going to change.
- Eva distanced from Kevin and Franklin after she gives birth- sterile atmosphere.
- contrast between Kevin/Franklin's blue clothing and Eva's white clothing which matches the ward.

Eva hits Kevin scene analysis

Eva hits Kevin:

- close up of Kevin's hands on knees centre frame- defensive position
- blue colour palette- dull/muted- discomfort/ lack of love in room- very tidy/organised due to Eva- inhospitable- too formal.
- framing becomes tighter as scene progresses- pacing increases- Eva tight shot/close up- rising tension/ increased empathy from audience- Eva's memory so she wants audience to sympathise.
- blinds in room resemble prison bars.
- wide shot- Eva and Kevin distance- lack of affection- opposition- resembles scene where Eva shows ball to Kevin.
- low angle shot of Eva after she throws Kevin- high angle shot of Kevin on the floor- Eva isolated as camera is further away from her- maybe shows her power/assertion of power.

lychee scene analysis

lychee scene:

- scene begins with Kevin's reflection in table- two perception of Kevin from parents- reminder to audience that Eva's memory may be distorted.
- Kevin in centre frame- in-between parents- he separates that parents bond with each other.
- symmetry in framing between Eva and Kevin- symmetry behind each of them- similarity between the two which Franklin is left out of.
- t-shirt shown with blood splatters on- Eva's memory depicts him as dangerous.
- Kevin sat at head of table- control/authority- long shot.
- formality in house over comfort- want to fit into conventions of American nuclear family but are unhappy.
- extreme close up of lychee- intensifies food- represents Celia's eye in Eva's memory- she views him as responsible.
- close up of him eating lychee- Eva so focused on him eating/antagonises her.

archery scene analysis

Kevin playing archery:

- natural lighting/bright colours
- hyper-real sound when arrow hits window- Eva views this as a direct attack on her. Eva memory misinterprets this- through memory linking this event to his killings.
- non-diegetic music changes as camera zooms into Kevin's eye
- target in his eye- idea that he has always had killings on his mind.
-graphic matching (crane up)- Kevin going from young boy to teenager.
-music snaps out as Kevin shoots arrow as a teenager.
- hand held camera in present
- low key lighting/ dull colour pallet of clothing contrasting to Kevin's bright clothing in memory.

christmas party scene analysis

christmas party scene:
-handheld shots- spectator sutured into narrative- viewer at ease.
- camera follows Collins view of eva. (medium long shot of Eva- isolating herself)
- use of red (cups, dress)- markers of guilt.
- pathos surrounding Eva- body language uncomfortable.
- Eva sees a mother with het daughter- she lacks this connection. mother and daughter walking away- Eva has lost motherhood.

fishtank essay

How useful has an ideological critical approach been in understanding binary oppositions in the narratives of your chosen films?

• (feminism)
• sex scene/dance scene, final dance scene, 
• binary opposition of Mia and Conner's- portrayed by the camera angles- Mia close ups, Conner long/mid wide shots. Mia presented as vulnerable, Conner portrayed as dominant, confidant. 
• intense focus on woman dancing- positions audience as male viewer/ critical of male gaze. dialogue between judges and Mia- femininity so important- constructed to make women sexualised and desirable. binary opposition between social expectations and woman's ability for individualism. 

When looking at the sex scene between Mia and Conner, ideological critical approaches of feminism are very useful in understanding the binary oppositions presented. Mia is portrayed as vulnerable and naive, and this is depicted through the close up shots of her sitting opposite Conner before he asks her to dance for him. these close ups, when compared to the long/mid shots of Conner stretched out on the sofa, illustrate Mia's lack of control when faced with Conner, and also her innocence as a 15 year old. this is further demonstrated through performance, when she appears repulsed by drinking Conner's alcoholic drink. the disparity between the camera angles and positioning when focusing on the pair portrays the binary opposites of naivety and youth, contrasted with dominance and experience. feminist ideology therefore becomes significant when looking at these oppositions, as critics would refer to the assertion of male domination over a young inexperienced woman, and the ability of Conner to exploit Mia through objectification and subjugation. this is exemplified when Mia dances for Conner, and the camera focuses on his gaze directed at Mia, which is eventually revealed to be for his own warped gratification. 

Furthermore, the final dance scene cannot be analysed without reference to, or consideration of feminist ideology. the camera is fixed and at a low angle, resembling the position of an audience member watching the unidentified woman dancing on stage, and along with the long take, acts as a criticism of the male gaze. the intense focus on the woman urges spectators to make connections to Conner previously watching and objectifying Mia, and are therefore persuaded to feel discomfort at the position of which they are placed. through this lens of feminist criticism, a binary opposition can be noticed between the expectations placed on woman to be subjects of male objectification and pleasure, and the ability for women to maintain autonomy and individualism. this is further demonstrated through the dialogue of the judges when addressing Mia, as they suggest that she appears 'much more feminine' with her hair down, and that this image of femininity constructed by patriarchal ideology would be enhanced if she wore 'shorts' (a more revealing attire). the binary opposition is, in this moment intensified, as for Mia to abide by the expectations of female sexuality she must reject her individuality and choice of appearance. the fact that Mia eventually rejects these expectations, as evident with the long take of her walking away from the stage, portrays the power that women hold in being able to disassociate from misogynistic notions of femininity. The director therefore sends an empowering message to women and girls by the end of the film, with the idea that women are not solely passive objects encumbered by patriarchal expectations, but instead have the power to dictate their own futures.   



       

golf scene analysis

golf scene analysis:

-Eva and Kevin synchronised while making food- suggests their similarities and deeper connection/understanding.
- hair styles presented as similar (two shots at golf centre)- could suggest that the role or nurture is more important than nature in shaping his personality.
- game of golf represents the battle which prevails through the whole film between the two.
- constant images of Kevin playing with food- scene of him with bread.

End scene analysis

End scene:

-non-diegetic music in background at beginning of scene- lyrics; 'nobody wants me' 'I'm no-bodies'- Kevin's life surrounded by neglect/lack of authentic affection.
-medium close up of Kevin (long cut)- for first time appears timid and guilty when with his mother- shows some humility for the first time- maybe he has come to realise how wrong he was/ how much he needs/wants to be close to his mother.
-followed by long cut of close up of Eva- they have begun connecting and understanding each other- reconciliation- no longer a battle between the two.- binary opposition between the two- claustrophobic.
-close ups of both characters- creates tension/intensity- spectator gains access to their intense emotions and conversation. shots become wider when he reveals his reason for massacre- Eva finally gains answer she has desired/hes tortured her for so long- sense of relief.
-dark lighting in corners and background.
-tracking shot of Eva walking out of prison mirrors supermarket shot, as does monotonous music- relief of intensity from previous scene meeting Kevin, and the deep depth of field.
-hand held tracking shot of Eva walking towards light outside- she finally has relief- unclear ending.
-lack of sound- oppressive- nothing else to focus on apart from characters.

WNTTAK supermarket scene

supermarket scene:

cinematography:

lighting:
bright/ piercing/ artificial lighting- cold and lacks warmth- highlights her paleness.
red lighting during flashback to shooting- very saturated on skin- psychological oscillation- links red to school shooting or Eva's guilt.

camera:
smooth tracking shots of Eva in supermarket deep depth of field- contrasts to handheld camera in flashbacks. Eva trying to build calm life- control over life. underlying tension from editing.
shot on 35mm anamorphic camera creates negative space- space become filled with tension- creates tension due to 'nothingness' in frames.
extreme close up of Eva's mouth while eating egg shell. shallow depth of field. uncomfortable to watch- parallel to Kevin eating.
slow zoom towards Eva in-front of soup- world closing in on her- claustrophobic feel.

sound:
muzac- flow of diegetic muzac synchronised to the speed of Eva's walk. sounds like lullaby- contrapuntal to scene.
sound of trolley- reminder of consumerism.
non-diegetic dialogue- mirrors Eva's internal thoughts. Franklin talking to Kevin. dreamlike, and soothing. envy's Franklins death as she has to live with guilt. (second viewing).
sound bridge at end of scene with Eva's non-diegetic words to Kevin

mise-en-scene:
costume- long raincoat worn by Eva- acts as a disguise. dull colours. shifts focus from what she looks like. removes femininity/sexuality. ploy against male gaze.
consumerism- Eva centred between shop products(props) (centre framed).
colour desaturated (monochromatic feel to Eva).
tomato soup- Eva centre framed, saturated, background wall of red.- connotations of blood/violence/warning/ surrounded by guilt- direct reference to Andy Warhol's anti consumerist painting.
eggs reference to fertility- broken- represents grieving mother.
wine stained table- routine drinking- represents holy communion- trying to expunge her guilt.

editing:
-flashbacks- persistant enigma as information revealed only gradually.
intercutting between Eva eating eggs and the aftermath of the shooting. presents the memory as still present and persistent in the present.
-pacing- slow intensity- flashbacks have faster edits/cuts (more chaotic).