Somewhere Over the Rainbow

            In my analysis of The Wizard of Oz I will argue that though the film appears to be a fantasy film intended for children, it goes beyond both its limited genre and the classical Hollywood form to create political commentary about its time. The majority of the film seems to be a political allegory that states that the collective group and the government will create a brighter future for America, however, it seems that by the ending the film becomes an objection to mass governmental intervention and brings the focus back onto the individual. This paper will explore how the use of color and sound composition effectively propelled the film’s transition from a dreary life to a place full of hope to carry on the political message that the government will help its people. This paper will examine how this political allegory was created by using the seven shots from 18 minutes and 58 seconds until 21 minutes and 05 seconds of screen time as its support. However, I will go deeper than this original assumption and look at the film as a whole, taking into account the historical-political situation of the time, to understand the film’s intentions at the conclusion of the film.            

            The Wizard of Oz (1939) directed by Victor Fleming is arguably one of the most well known movies of the century. The film was based on the book written in 1900 by L. Frank Baum titled The Wonderful Wizard of Oz. However, the film takes the book to another level, allowing the audience to receive an intimate visual experience, while creating a magical place in the Land of Oz that uses sound and color to go beyond one’s imagination. Even now, with advanced special effects and high definition quality in current Hollywood films, people still appreciate Dorothy’s (Judy Garland) opening up of the door of her house in black and white and stepping into the Technicolor Land of Oz.

            Though initially The Wizard of Oz was not commercially successful, it achieved its status and fame through annual televised airings starting on November 3, 1956. Where else can one watch munchkins, wizards, witches and “lions, tigers and bears oh my?” The annual TV airing became one of the most anticipated events of the year as families would gather around the TV to watch Dorothy, the Scarecrow (Ray Bolger), the Tin Man (Jack Haley), and the Cowardly Lion (Bert Lahr) travel through the mystical Oz and escape the Wicked Witch of the West (Margaret Hamilton) in order to return Dorothy to her home and find a brain, heart and courage respectively for the other characters. It became the perfect family film because the movie’s explicit message is that even if it takes a journey to understand where you are and who you are, it may not be until the end of the road you will realize that “there’s no place like home.” The film emphasizes family as a core value. It has become such a household stable that whenever The Wizard of Oz is mentioned, people can instantly quote their favorite lines that they have memorized after watching the film again and again. However, beyond the messages at its surface, The Wizard of Oz attempts to become a political allegory for American society. The ideals used to establish its political messages, interestingly, have been relevant throughout our history and therefore is one main reason why this film has had timeless appeal.

            The 1930s and some of the 1940s has been labeled “The Golden Age of Hollywood” because during that time the classical Hollywood period dominated film production. The 1930s was the decade of experimentation with the sound and color revolutions (Dirks). In addition, new genres were developed, new Hollywood stars were born and the studio system rose to elevated status. The Wizard of Oz is a classical Hollywood film that followed the narrative norms and conventions like that of other commercial cinema of its time. The Wizard of Oz was the movie that propelled Judy Garland into widespread fame and it was produced by one of the biggest production studios Metro-Goldwyn-Mayer (or MGM).

            Though the 1930s was a period of innovation and success for the film industry, it was far from a successful era for America’s economy. In the 1930s, America experienced the Great Depression, one of the worst economic disasters in American history, as well as the Dust Bowl, a series of droughts and dust storms in the Southern Plains that destroyed the crops and the lands and further hurt the American economy. The Wizard of Oz begins in Kansas, one of the states severely affected from the massive droughts, and then turns to a fantasy world in the Land of Oz to create political commentary on the American economic situation at that time. Throughout the Great Depression, political controversy was created over the extent of the power of the Government, as the government believed the people should turn to them as the ones who would bring the Depression to an end. The film attempts to weigh-out both government intervention as well as individual self-sufficiency throughout the film.

            David Bordwell’s essay Classical Hollywood Cinema: Narrational Principles and Procedures can very much be related to The Wizard of Oz. It is no secret that on the surface, The Wizard of Oz follows many of the guidelines in Bordwell’s essay. After all, the film was created and filmed during the prosperity of the Classical Hollywood film that Bordwell writes about. The film follows Dorothy’s journey to find her way back to Kansas. Dorothy is the protagonist of the film who drives the narrative along and is therefore the subject of the audience’s gaze and “the chief object of the audience’s identification.” (Bordwell)  

            In the beginning of the film Dorothy is shown in Kansas, portrayed in black and white. Her situation in Kansas was dreary and dull. Her life revolved around the hard work and the mundane life of farming, her dog is in trouble with Miss Gulch and she sings about living a happier life. Prior to shot 1, Dorothy had been knocked unconscious by a windowpane and awakes to find herself in the midst of a twister. In shot 1, Dorothy’s house has just landed in Oz and her story in this new fantasyland begins. In these seven shots, the importance of the individual is emphasized. Dorothy is seen leaving her miserable life in Kansas and moving on to something new.

            The focus of many of the films created during the “Golden Age” of the classical Hollywood cinema largely centered upon the human body. Dorothy is seen in three medium shots out of the seven shots total. These three shots emphasize gestures and facial expressions, thus allowing the audience to identify with Dorothy. For these shots, the focus on Dorothy (and Toto) helps bring the audience’s attention to them as they help carry along the narrative with their trip through Oz. In shot 3, the audience only gets a glimpse of the wonderful Land of Oz, which builds suspense. In shot 4, for the first time, Dorothy is shown in color, which brings the focus again back onto her. With the use of Technicolor, the mid-shot in shot 4 allows the audience to directly relate to Dorothy before getting blissfully lost in the Land of Oz, the land of hope and opportunity. In addition, the mid-shot of Dorothy in shot 4 emphasizes the curiosity and awe that Dorothy and therefore, the audience, had for the Land of Oz. Dorothy is experiencing so much “awe” that the audience relates to this and experiences this sensation as well. Shot 4 allows the audience to really appreciate Dorothy in vibrant colors before showing off Oz. The film lets Dorothy appear at first to be very important, but then later in the film and in the following shots, the film shifts the importance onto the group (whether it be the collective Munchkins or Dorothy and her friends the Tin Man, Cowardly Lion, and the Scarecrow). The audience must focus on Dorothy first in order for the film to shift its attention onto the collective group. In shot 6, the first instance of the masses is shown when the Munchkins peek out of the bushes. The director is allowing for a small glimpse of the collective group before the total emergence happens.

            Another similarity of The Wizard of Oz to classical Hollywood films is the narrative structure and its dual plot line. Since Dorothy was only 12, the heterosexual romance does not necessarily make sense, but nevertheless there is arguably a romance that exists between the Scarecrow and Dorothy. This can be seen when Dorothy says, “I think I will miss you the most” in the end of the film. The other plot line is the quest of the protagonist which is of course Dorothy escaping the Wicked Witch of the West and finding the Wizard who Dorothy believes will guide her home. In addition, the film follows aspects of the classical Hollywood cinema by its use of continuous editing. Time was consistent. The linear time progression can be followed with eyeline matches, shot reverse shots, and continuous editing between shots, which is used throughout the film (for example, there is continuous editing between shot 1 and 2- Dorothy reaches for the door and the next shot we see Dorothy stepping through the door).

            This movement into a dream world of hope and opportunity is emphasized by the transition from black and white to Technicolor. One of the most fascinating scenes is in shot 3, when Dorothy opens the door of her house and steps into Oz. From 1922 to 1952, three-stripe Technicolor was the filming process of choice in Hollywood and was characterized as hyper-realistic, saturated levels of color. Technicolor was especially used in filming musicals (The Wizard of Oz and Singin’ in the Rain) and animated films (Snow White and the Seven Dwarfs). As mentioned in the book “Film As Social Practice IV” by Graeme Turner, color is used in the fantasy world of Oz, while the real world, or Dorothy’s home in Kansas, is represented by the black and white. (Turner 28) The color composition is fascinating, especially for its time. At the time of The Wizard of Oz’s production, color films were rare and expensive and The Wizard of Oz’s use of Technicolor was a defining aspect in helping to transform and enhance the Land of Oz from ordinary to an extraordinary fantasyland. In shot 1, Dorothy looks back and out of the frame in this shot four times emphasizing the split between the old life and the new. Essentially, she is stepping into the fantasy/Land of Oz and out of Kansas. Even though Dorothy looks behind to where Kansas once was, she does not turn back because she is enticed by the allure of what is beyond that door. A large door appears in shot 3. For almost a whole second it is the only object in the shot. The door takes up most of the shot emphasizing its importance because it represents the break between the old and the new, unknown world. Dorothy excitedly runs up to the door and opens it without looking back. Dorothy walks forward into the Land of Oz, ultimately symbolizing her belief in positive change and hope. The color in the Land of Oz creates an exciting and hopeful feel, just as government intervention was supposed to create in the minds of Americans.

            In addition, the sound composition in the shots after Dorothy steps into Oz at 19:29 till 20:46 seconds of screen time is really important to show Oz as an even more exciting place. The contrast from silence to sound is important in transforming the film from Kansas to Oz, from dreariness to cheerfulness. When Dorothy steps out of her house in shot 3, the sound is a mixture of chirping birds, high-pitched chimes, oohs and ahhs. The use of sound is effective in further emphasizing the importance of government intervention because the sound creates a happy, exciting, and mystical feel. When Dorothy walks into Oz the film score goes back to the song Dorothy sang in Kansas, and one of the most famous songs from a film, “Somewhere Over the Rainbow.” This song helps the audience realize that Dorothy’s dream to find that special place has just come true. For the first time in shot 5, the camera pans over the curvy Yellow Brick Road, and new sounds are heard. It’s cheerful and upbeat to help juxtapose the Yellow Brick Road with adventure and a sense of hope. Can this yellow brick road take Dorothy home? Can it bring America out of economic turmoil? Dorothy also helps create this feel by her continued fascination with the new place and by speaking the famous lines in shot 6 and 7, “Toto, I have a feeling we’re not in Kansas anymore. We must be over the rainbow!” The sound in this sequence really helps create the mystical feel of the fantasyland. The chirping birds and the mystical chimes of the music help emphasize the happiness of Oz that has yet to come.

            In shot 5, the audience is able to fully appreciate the beauty of Oz. The sequence following Dorothy’s entry into Oz has great use of space and establishes enthusiasm for Oz. In addition to the use of sound in shot 5, this shot is visually appealing because of the bright colors and lighting and the sparkling alive nature of the background of Oz juxtaposed to Dorothy’s house which is shown from the outside colored in a grayish tone. The camera’s slow panning movement over the land further helps accentuate Oz’s importance and mystical feel and presents an ideal image. As applied to Stephen Heath’s Narrative Space, this shot of the Land of Oz “serves, that is, as a kind of master fold in the sequence, setting it correctly in place.” (Heath 41) This shot of just images of a mystical land lacks any dialogue or action, but its essence alone is very important in creating the appeal and hope that the Land of Oz will bring for Dorothy (and essentially, what government will bring to the people). When the Munchkins come out later in the sequence, the songs, dances and energy further help create enthusiasm for governmental intervention. In this sequence, a happy mood is created by the film techniques that emphasize movement and action.

            Not only does the film allow for an escape into a dream world of hope and fantasy, but as just explained, it is also a film with political commentary about themes that exist in the past and present. Hollywood films embedded American themes in their narrative whether as an underlying message or explicitly. The film was created in the midst of the Great Depression and Dust Bowl. Though the film was produced during this turmoil, the politics in the film were idealistic and ambiguous so that they have lasting effects in America even today. Dorothy and her friends represented the common people who each have weaknesses, leading them to believe that they need a higher source to help them solve their problems. This can be related to the state of the American people at this time. Americans were hoping for a brighter future and positive images while destruction and failure of the economy was all around them. Franklin D. Roosevelt was the President of the U.S. and he enacted a series of governmental programs called the New Deal to help America’s economy. The New Deal was all about government helping the people, so therefore, the dominant ideology of that time was that the “government is the people” and good will result from the working of the two together. In these seven shots, the film eases its audiences into the new concept of governmental intervention. The first few shots emphasize Dorothy, while contrasting her with the black and white Kansas. The black and white Kansas represents the Great Depression, the Dust Bowl and the bleak economy and the bright, sharp Technicolor is used for the Land of Oz to represent a fantasy world of hope. In addition, the next few shots of Oz begin the transition to the hope that the government will bring for America. Soon, the film follows Dorothy and her friends across the Land of Oz in order to find the Wizard who they believe will guide them on the right path to achieve their goals.

            However, the end of the film attempts to reverse the happy images that have just been created. Along the Yellow Brick Road, tainted images come to life. Oz is not what it first appears to be. The Wicked Witch of the West and her evil monkeys, the scary forest and the drug induced poppy fields show that the Land of Oz was not as happy and hopeful as it originally presented itself. The film wants Americans to remember where they came from and to not become carried away with seemingly enticing offers. Even though Dorothy had a miserable life at home, by the end of the film all she wants is to go home. Prior to the implementation of the governmental programs, the American economy was generally laissez-faire. Looking back at the film as a whole, the main political statement that the film makes is that Americans can be self-sufficient and should not wait for the government to take action. This belief is basically an anti-governmental message and puts the power in the common people. The Wizard of Oz provides examples of why the government cannot be trusted. For example, the Scarecrow, the Tin Man, and the Cowardly Lion all go to the Wizard believing that he can solve their problems. However, the Wizard cannot help at all and instead he tells them that the things they were looking for were inside them all along. Another interpretation of the film as written by Salman Rushdie in his book The Wizard of Oz, is that the film’s driving force is all about the inadequacy of adults to help children, Auntie Em and Uncle Henry cannot protect Dorothy from the evil Miss Gulch just like the Wizard can’t bring Dorothy home. In the end, it’s up to Dorothy to find independence within herself. (Rushdie 10) Dorothy must believe in herself and with a few taps of her heels she is transported back home. It isn’t until the end of the adventure that she grows up on her own to fill those ruby slippers. I believe Rushdie’s interpretation correlates to the inadequacy of government to solve the common people’s problems.  These characters represent the American working class as this film wanted Americans to “take initiative and don’t wait for the government to solve your problems.” (Levy)

            So what once seemed like a simple children’s film, no longer seems to be that innocent anymore. The Wizard of Oz is rich in meaning in both historical and political context. Though my interpretation of the film is just one out of many, I believe that overall the film’s take-home message is to focus on the individual’s self-sufficiency over government intervention. The use of color and sound in the clips that were analyzed were important methods used to create the initial appeal of government intervention. However, my main point is supported when the Wizard tells Dorothy in the end, “I'm a very good man. I'm just a very bad wizard.” This parallels the goodness in the individual over the untrustworthy government. Its timeless appeal exists because the film is not only entertaining but also has important substance.

 

Works Cited:

            Bordwell, David. “Classical Hollywood Cinema: Narrational Principles and Procedures.” Adopted from Narration in the Fiction Film (1995), 18

            Dirks, Tim. “Film History of the 1930s.” American Movie Classics Company LLC. 2009. 2 December 2009. http://www.filmsite.org/30sintro.html.

            Heath, Stephen. “Narrative Space.” Questions of Cinema (Theories of Representation and Difference). Bloomington : Indiana University Press, c1981. 41.

            Levy, Emanuel. “Wizard of Oz: American vs. Universal Messages.” 2008. 2 December 2009. http://www.emanuellevy.com/search/details.cfm?id=278

            Rushdie, Salman. The Wizard of Oz. London: British Film Institure, c1992.

            Turner, Graeme. Film As Social Pracitce IV. New York, NY: Routledge. 28. 

Somewhere Over The Rainbow (Shot by Shot Analysis)

By analyzing the four shots from 18 minutes and 58 seconds until 19 minutes and 43 seconds of screen time of Victor Fleming’s The Wizard of Oz (1939), I will argue that the shots’ mise-en-scene, most notably its transition from black and white to Technicolor and sound composition combined with a sense of awe portrayed by the main character Dorothy (Judy Garland) enables audiences of all ages to become captivated by the fantasy world known as Oz. The Wizard of Oz is not only one of the most well known films of the decade, but it is also ground-breaking in the history of mythmaking/fantasies and classical cinema. The most striking aspect of The Wizard of Oz is its advanced visual composition. At the time, color films were rare and expensive and The Wizard of Oz’s use of Technicolor was a defining aspect in helping to transform and enhance the Land of Oz from ordinary to an extraordinary fantasyland. In addition, the sound composition helps propel the Land of Oz into an even more mystical place.

In shots 1-3, the film is shot in black and white and colored in sepia tone. The black and white film sequences represent life in Kansas. Shot 4, and the whole Oz portion of the film, is filmed in three-strip Technicolor. From 1922 to 1952, Technicolor was the filming process of choice in Hollywood and was characterized as hyper-realistic with saturated levels of color. Prior to the four shot sequence, Dorothy ran away from home after Miss Gulch (Margaret Hamilton) threatens to take away Dorothy’s dog Toto. Dorothy runs into a man in Kansas who warns her that her Aunt Em (Clara Blandick) is very sick. A twister suddenly appears as Dorothy is on her way back home and she is knocked unconscious in her room when a windowpane hits her head. She then experiences a “dream” which transports her to Oz. The use of the word dream is controversial because some argue that Dorothy dreamt the whole adventure in Oz while others argue she actually did experience this fantasyland. Dorothy later on meets the Scarecrow (Ray Bolger), the Tin Man (Jack Haley) and the Cowardly Lion (Bert Lahr) and they all travel through Oz hoping to find the Wizard who will guide Dorothy back home.

Prior to shot 1, Dorothy’s house is seen in the midst of a twister and then is seen landing into Oz. In the first second of shot 1, Dorothy’s room appears to be in the air before landing on the ground. Wind and debris blow through the window causing coats and paintings to crash onto the ground. However, other than a tipped-over chair, the room looks relatively neat for having just experienced the heart of a twister. During the landing, Dorothy is crouching on her bed holding Toto. The only sound that is heard is the house crashing and Dorothy says “Oh!” The shot then goes completely silent. Dorothy looks up and around and tries to regain herself. Dorothy appears scared, yet more curious about where she is. This is shown as she gathers her things relatively quickly in the long shot. Dorothy had been holding Toto throughout the twister, as he is her most beloved possession. She grabs her basket and then reaches for the door. Dorothy looks back and out of the frame in this shot four times. At one point she even lingers when she looks back. Essentially, she is stepping into the fantasy/Land of Oz and out of Kansas. Even though Dorothy looks behind to where Kansas once was, she does not turn back because she is enticed by the allure of what is beyond that door. This scene emphasizes silence, mystery and curiosity. The silence is prominent as no sound is heard- no soundtrack or dialogue. The only sound occurs when Dorothy opens the door as the knob is heard turning, as well as the thump of the door banging into stuff on the floor. The scene emphasizes Dorothy’s curiosity about where she is because she looks back four times but keeps going forward. Also, the dark shadows on the walls and off of Dorothy further emphasize mystery. Dorothy opens the door to solve the mystery.

Through continuity editing, Dorothy is seen in shot 2 coming out of the door. Prior to this shot, in shot 1, Dorothy is last seen reaching for the door. Shot 2 shows Dorothy in a medium shot so that her head and shoulders are visible, as well as the top of Toto. Dorothy is shown in a medium shot to portray her look of bewilderment and curiosity. In this shot we can also appreciate the choice of hairstyle as the pigtails really emphasize Dorothy’s innocence. Toto is included in the medium close up because he is a very important character in The Wizard of Oz. Therefore, it is essential that he be included in the shots leading up to the entrance into Oz. When the shot starts the camera is on Dorothy’s right side allowing the camera to track her progression forward. Then it seems as if Dorothy almost walks out of the camera’s frame until the camera cuts. Again, this shot is silent as Dorothy is unsure what is happening as the transition from Kansas to Oz is in effect. Though a part of the room behind Dorothy is visible, where she will be headed is unknown.

All of a sudden, in shot 3, a large door appears. For almost a whole second it is the only object in the shot. The door takes up most of the shot emphasizing its importance because it represents the break between the old and the new, unknown world. Dorothy excitedly runs up to the door and opens it without looking back. Not only does the camera pan in through the door to reveal for the first time a color picture, a visually pleasing land called Oz, but in addition the audience gets to experience the first view of Oz along with Dorothy allowing for a very intimate feel. As she peeks her head through the door, the audience peeks their head to look at Oz as well. When Dorothy walks through the door the place is larger than life. This shot is really elaborate because it is the only shot in the film that completely changes visual composition (from black and white to Technicolor). In addition, the soundtrack begins when the door to Oz is opened, enhancing this mystical image. The contrast from silence to sound is also important in transforming the film from Kansas to fantasy-life. The sound includes chirping birds, high-pitched chimes, and a slow rhythm to create a peaceful yet magical feel.

Shot 4 helps emphasize the importance of Dorothy, but it also cheats the audience of an instant appreciation of Oz. The audience must wait for the next shot for a full visual description of Oz, therefore building the suspense. In shot 3, the audience only gets a glimpse of Oz. Shot 4 cuts back to Dorothy to allow the audience to really appreciate Dorothy in vibrant colors before showing off Oz. For the first time, Dorothy is shown in color which brings the focus back onto her. She has bright red lips, rosy checks, brown hair and eyes and light blue ribbons in her hair to match her polka dotted dress. Toto is also shown in this mid-shot. In the background we only see the door she leaves behind and a wax-like looking plant.

David Bordwell’s essay Classical Hollywood Cinema: Narrational Principles and Procedures can very much be related to The Wizard of Oz, especially in this shot. It is no secret that The Wizard of Oz follows many of the guidelines in Bordwell’s essay. After all, it was created and filmed during the prosperity of the Classical Hollywood film that Bordwell writes about. The most prominent similarity can be seen when Bordwell talks about the protagonist who drives the narrative of the film who is “the chief object of audience identification.[i]” Dorothy is the sweet, innocent protagonist of The Wizard of Oz who is very easy to identify with. Her innocent appeal is emphasized with her cute dog and her style. Her style is further emphasized by the use of Technicolor. With the use of Technicolor to showoff Dorothy, this mid-shot in shot 4 allows for the audience to directly relate to Dorothy before getting blissfully lost in the Land of Oz. In addition, the director probably shot a mid-shot of Dorothy before he explored Oz to emphasize the curiosity and awe that Dorothy and therefore, the audience, had for the Land of Oz. Dorothy is experiencing so much “awe” that the audience relates to this and experiences this sensation as well. Dorothy and Toto are the main focus of this shot because they help carry along the narrative with their trip through Oz. The chirping birds and the mystical chimes of the music help emphasize the happiness of Oz that has yet to come. The shot ends with Dorothy smiling; she has realized that she is not in Kansas anymore and has found that place “somewhere over the rainbow.”

Clearly, these four shots are important as they capture the aura of Oz and help the audience and Dorothy escape reality and transcend into a dreamlike world. Through use of sound and visual composition like the sharp contrasts from black and white to Technicolor, and a strong focus on the protagonist of the narrative, a sense of awe is established that further enhances the dreamlike fantasy of Oz.

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[i] David Bordwell, “Classical Hollywood Cinema: Narrational Principles and Procedures.” Adopted from Narration in the Fiction Film (1995), 18

(See clip of four shots below)

Contemplating story and discourse

Sitting in the new classroom, the lights dimmed, I sat back in my seat in anticipation of watching another movie in film class that I had not seen before. I was skeptical when I heard we were watching Man with a Movie Camera. I knew nothing about it except that it was labeled as a silent film- so I predicted it had to be bad. However, the film went far beyond all my expectations. Truly, I was thrown off, but in a good way. This was the first movie I had ever seen that had no clear storyline. I had no protagonist to relate to and cheer on, nor was there a plot that would suture me into the film. However, I enjoyed it. I enjoyed seeing how films were made and how much work goes into it. This includes placing a camera and getting a shot underneath a moving train, which is something remarkable for a film made in 1929 (http://www.youtube.com/watch?v=Gvz83LqkSC4 seen at 9:09-9:19).  I liked seeing how normal people became an actor/actress and how mundane situations we go through every day became a part of a film. I also did not feel voyeuristic when watching this film, probably because instead of being sutured into the film, I was able to learn from the film. The film incorporated creative elements, like stop motion techniques which displayed a camera and chairs moving on its own and time lapse sequences innovative of its time that made the film even more unique. The movie allowed me to appreciate all that goes into making a film.

            However, a few questions troubled me after the film. Why are we as audiences so hesitant to view films that change the conventions of a typical film? Why did I label this film as bad as my first instinct? Even the director of this film issued a warning about his film in the introduction stating, "The film Man with a Movie Camera represents an experimentation in the cinematic transmission of visual phenomena without the use of intertitles without the help of a script without the help of a theater.” As analyzed by Christian Metz in Story/Discourse: Notes on Two Kinds of Voyeurism, the movies we are accustomed to watching are the conventional films that Metz calls “the kind of film which it is the film’s industry’s business to produce.” I believe that we watch films for the story that they tell, or their narration. We go to movies to watch others engage in situations and behaviors that we would not, or could not take part of. Metz says the film “obliterates all traces of enunciation and masquerades as story.” The story allows for its audience to become sutured in.

            In the same respect, discourse is equally important. As Metz states, it is discourse that the filmmaker’s intentions are based from and that create the film. The filmmaker ultimately has the ability to control the film. Discourse refers to the elements and techniques that are used for production. Normally a film covers up the discourse (the production elements) with a stronger storyline.

            Man with a Movie Camera is a silent experimental film that stripped away narration and became artistic and visually captivating through the use of its discourse. It used cinematic techniques, including different camera shots and angles, which transformed various aspects of everyday life into art. Therefore, even though there was no clear narrative, the audience became its own “authoring agency.” I enjoyed narrating this film myself, with only the aid of the camera and its shots. The film juxtaposed life to machinery, which in a way created a visual storyline. At times, Man with a Movie Camera was hard to watch as I’m used to sound, narrative, action, stunts, etc., but I had to step out of my boxed in mental notions of conventional films to appreciate that this movie is incredible for its time and set the bar high for films after it. The clear lack of narrative allows for the audience to explore every day life and the art of filmmaking. An important scene is when the camera pans around and we are able to actually see the camera in the shop window (seen here from 9:07-9:15 http://www.youtube.com/watch?v=SZCglRzB5Zc). This scene feels as if the audience is being filmed as they are placed directly into the film. In other scenes we see the camera, but we are seeing the camera through another camera’s lens, which makes the audience aware of the camera producing the film. The shop window scene is incredible because for once film and audience become one- the enunciation is clear. Man with a Movie Camera helps places an emphasis on the importance of discourse in film and breaks down the once scary notion of a story-less film.

 

The mysterious Cache

            The thought that persisted in my mind while watching the French film Cache directed/written by Michael Haneke was that Cache was no ordinary film. Cache is about the Laurent family and their suspicion that they are being stalked, as strange surveillance videos of their house and mysterious drawings show up at their doorstep. The film follows Georges Laurent as he attempts to solve the mystery. Cache maintains a sense of tension throughout its entirety not only because of the tense scenes onscreen, but also because of the directorial choices Haneke made to leave important information out. Cache breaks many of the traditional conventions of a typical narrative film and produces an uneasy feeling for its viewers. The audience is left with confusion, no clear resolution, and self-doubt over what they had just seen.

            In The Tutor-Code of Classical Cinema, Daniel Dayan writes about the techniques film has created which allow the viewer to become a part of the film. According to Dayan, “falling under the control of the cinematographic system, the spectator loses access to the present.” The audience roots for the protagonist and is satisfied when the villain is destroyed. The techniques used to make the film believable include eyeline matches, continuity editing, and the shot-reverse-shot. In typical narrative films, such as Rear Window or Sleepless in Seattle, eyeline matches connect one shot to another through the use of the gaze to produce meaning. In Rear Window, Jeff looks down and the next shot is of Miss Lonelyheart on the bottom floor. The audience believes Jeff was looking at Miss Lonelyheart. In Sleepless in Seattle, eyeline matches connect Annie and Sam across continents. Annie looks to the side and the next frame captures Sam looking at that side. The camera uses eyeline matches to motivate the narration of the film. The audience identifies with these two shots, which are separate frames in reality, but joined together in the film to create meaning. Eyeline matches are a part of continuity editing. This continuity editing allows for the audience to become totally immersed, or sutured, into the film because the editing allows for fluidity and consistency. The audience becomes lost in the movie and follows its storyline. Eyeline matches and continuity editing are important qualities that a movie will have if it wants its audience to become sutured in. Cache often broke these typical conventions, especially the technique of shot-reverse-shot.

             With the shot-reverse-shot technique the meaning of shot 1 is conveyed by the object/person in the reverse shot 2. Dayan also includes Jean-Pierre Oudart’s analysis on the theory of the “absent-one.” The reverse shot in shot 2, which creates meaning to complete shot 1, satisfies this “absent one” in shot 1.  This furthers the suturing of the viewer into the film. In Cache, there often was no shot 2, and therefore, no meaning to shot 1. This is discomforting and creates confusion. The audience feels uncomfortable because in Cache the “absent one” Dayan referred to, remains absent. The reverse shot is not revealed. In addition, a guilty feeling rides over the audience that they are seeing things they should not. The audience wonders if they become the voyeur. The audience develops a creepy sense that they may be that “shot 2.” At some points in the movie I wanted to just get out of my seat and click the off button on the surveillance camera that we were viewing through. I believe that in Cache, the viewer is constantly reminded of this discomforting presence as the viewer yearns to know who is the face in shot 2.

            Cache was one of the most unsettling and frustrating movies I have ever seen. With no clear resolution, the viewers are left sitting in the lightly dimmed theater, questioning what they have just watched. Georges leaves his wife out of his hunches and the audience is left out as well. There are no answers to the many questions that come up throughout the film. Who is watching the Laurent family? Is this a surveillance tape or is this a scene in the film? There are many drawn-out conversations that are filmed with a long shot, without different angles or close-ups, and that often have no purpose. The normal conventions of film guarantee a seamless narrative. Cache does not have a seamless narrative. For example, a shot is shown and then a sound is heard but they are not connected. In addition, Haneke usually left out the reverse shot and therefore the movie maintained its tension even after its ending. For example, there is a shot of a scene in Majid’s kitchen, but the audience never knows who is in the reverse shot. In another example there is a shot of boys swimming in a pool, but it’s unknown whose watching these boys- it a coach, a parent, or is it us as the audience? Also shown is a scene of a house, the audience assumes it is George’s childhood home, and there is action in front of the house, and again the audience questions whose watching it? The audience becomes aware that they could be the “absent one”- and this is something the audience is not conditioned to conceptualize. Haneke also allows actors to appear in the shot and then leave and not come back, allowing for more questions to arise in the viewer’s mind. The director knew what he was doing when he named his film Cache, which in French means hidden, as the movie leaves the audience with a eerie sense that there is a lot of missing evidence.

"Will You Marry Me So I Can Date You?"

 

The blockbuster hit “The Proposal” directed by Anne Fletcher staring Sandra Bullock and Ryan Reynolds grossed $285,837,964[i] worldwide during its summer release. Fletcher previously directed Step Up and 27 Dresses, movies that had great potential (high energy and great dance moves in Step Up and a comedic likeable cast in 27 Dresses) but never really sparked flames. However, the third time is the charm. Her third film, The Proposal, seems to break that trend as it is currently in the top 10 grossing movies of 2009 (and the DVD has not yet been released)[ii]. Prominent stars like Bullock and Reynolds, massive publicity, beautiful scenery and a widespread summer release are all contributing factors to its box office success.

            For three years Andrew had to listen and obey his boss, publishing editor/devil Margaret. Margaret (Bullock) is uptight, organized, bossy, and controlling. She’s addicted to work, high heels, and her blackberry. The whole office is scared of her and sends witty instant messages via their computers whenever “the witch is on her broom.” Margaret is so committed to her job she forgets to file her immigration papers correctly and learns she will be deported back to Canada. Quickly devising a plan, she proposes to her secretary Andrew in order to stay in America and to keep her job. Andrew (Reynolds) is the direct opposite of Margaret. He is laid-back, nonchalant and funny. Andrew agrees to her plan as long as she makes him a co-editor. Under speculation from immigration offices, they fly off to Andrew’s hometown for his Grammy’s 90^th birthday. She is introduced to his life, including his family’s wealth and prominence in Sitka, Alaska and even to their furry little dog. Andrew knows every detail he needs to know about Margaret but she knows nothing about him because she was too preoccupied with her job. The movie comically unfolds as Margaret is introduced into a new, stiletto-free life outside of her New York City bubble. They create and live this lie that they are really engaged and the awkward relationship that evolves brings out hilarious moments. Can Margaret and Andrew follow through with their plan of marriage? Will they strangle each other before the wedding day? Of course, a “twist” occurs when their platonic relationship develops into a twisted-love relationship, but who did not see that one coming?

            One of the major underlying themes in The Proposal is the theme of gender roles. A reverse gender role is established in the beginning- Margaret is the dominant character and is Andrew’s boss. She’s the head editor and he is her secretary. There are subtle (or not) mentions of this play on gender throughout the movie. A good example is the proposal scenes throughout the film. At first, Margaret must get on her knees to propose to Andrew, where the first reverse-gender role is established. Next, there is the scene where Margaret and Andrew recall their “proposal” to Andrew’s family. They bicker back and forth and the girl and guy version of the story is told. Margaret ends up telling most of the fake story including roses and tears, and Andrew tries to save himself but she wins over him in that scene. Finally, it isn’t until the end of the movie where the roles are switched and the traditional male does the real proposing. It isn’t until Margaret occupies the stereotypical essence of a female- her hair is let down, her emotions are more clear, she’s more open- that she allows herself to fall in love. An example that portrays Margaret’s vulnerability is the scene when she falls into the freezing Alaskan water and she doesn’t know how to swim. Andrew is than transformed into her knight in shining armor as he rescues her, warms her up, and tells her it will all be okay. Andrew then begins his rise into the more dominant male character and the audience begins to fall for the budding romance between the two opposites. Speaking of the resolution, the play on gender roles is apparent once again. Margaret originally asked Andrew to marry her and that was not successful. It is not until Andrew runs back to Margaret, demands that she listens, during which a coworker shouts, “show her whose boss,” and then he finally takes her hand and proposes to her. He then asks, “will you marry me so I can date you?” It’s interesting how easily the audience falls for this stereotypical ideal of gender roles, it’s something we have just been conditioned to believe. The movie seems to break out of the typical plot at first, but then steps back to the more traditional plot in the end. The movie may have been more unique if it continued with its reverse gender role theme throughout the entire film. Following with the reverse gender roles throughout the movie would have avoided the movie’s one downfall; it was too much of a formulaic movie as the guy gets the girl in the end.

        In terms of technical elements and editing, The Proposal really used all the techniques available, in addition to continuity editing, to really advance the hate to love story that takes place over a 3-day weekend. The continuity editing makes it believable that Margaret and Andrew can have a complete change of heart for each other and suddenly fall in love. For example, in one scene we see Margaret in bed and Andrew lying on a makeshift bed on the floor (even though Andrew’s family insisted on them sharing a room/bed they were clearly not at that point in their relationship). However, the first sign of romance grows out of this scene- we see a close shot of Margaret on one side of the bed talking about her intimate life details and then we see a close shot response from Andrew that made it seem like they were in bed together side by side sharing their stories. With the use of the great film techniques we really believe their love story. In addition, music guides the movie. There is not much popular culture music (besides the Ying Yang Twins tribute), which is surprising for a blockbuster movie, but there are different film scores throughout the film. The music played in the background can represent so many different emotions and can make a scene seem slow or can quicken the scene’s pace. The Proposal really made use of its film scores to progress the movie.

            The Proposal has many comedic scenes, which kept the movie flowing and it was never boring. The priest, stripper, store clerk, waiter (Oscar Nunez) kept popping up everywhere and always provided entertainment. Grammy (Betty White) is seen chanting and hopping around in the woods. Though the humor seemed amateur and unoriginal for a mega publicized and developed film, The Proposal really milks its comedic scenes. For example, in one scene the little white furry dog is grabbed by an eagle and flies through the air. In addition, the acting in the film is very impressive. Each character gives importance to the plot. Bullock portrays her character well as the audience hates her in the beginning but cheers her on in the end. Reynolds does not have too much dimension to work with, as his character’s emotions are relatively flat, but he does a good job nevertheless (and his well-toned body is a major plus).

            For a light-hearted romantic comedy it gives its audience just what is says it will deliver. The film’s light-hearted nature aims to please. The audience will walk out with a smile. Two gorgeous people, a beautiful setting and a comedic love story- what’s not to love?

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[i] http://www.the-numbers.com/movies/2009/PROSL.php

[ii] http://www.imdb.com/Sections/Years/2009/top-grossing

 

 

 

Reality v. Fantasy

            David Bordwell, in his essay Classical Hollywood Cinema: Narrational Principles and Procedures, explained the structure and elements that dominated American film through the period 1917-1960. This style has become so common in film that directors today have two options, either follow the classical style or to try to “rebel” against it. In short, the classical style consists of a protagonist, some sort of dual plot line (a quest or challenge and some sort of romance), and a film technique called causality (which is maintained through continuity editing as to not disrupt the film experience). A classical Hollywood film sequence has a beginning that is called an exposition where the characters, place, and spatial time are all explained, a middle that involves crisis, and an end or the resolution which involves the conquests of the main goals of the movie. What’s a classical Hollywood film without some action and romance?

            “Life isn’t like in the movies, life is much harder. Get out of here the world’s all yours.” This quote summarizes the wonderful film Cinema Paradiso, directed by Giuseppe Tornatore. The film is a celebration of the movie-going experience and begins like a classical Hollywood movie. We are introduced to Salvatore (nicknamed Toto), the movie’s protagonist. Toto is a cute and likable boy raised by a single mother. Just as Bordwell describes it, Toto becomes “the chief object of audience identification.” The film narrates through his daily life and we are able to identify and relate to Toto. His school and home atmosphere is not pleasant and for Toto film becomes his break from reality. We see his love for film develop and we want Toto to succeed. An element in Cinema Paradiso unlike classical Hollywood film is the unconventional relationship between Toto and the town’s film projectionist Alfredo. In my opinion, they are both each other’s guardian angels. Alfredo is the father figure that Toto never had and Toto is his son he never had. They remain woven together throughout their lives and have a complex friendship the audience can appreciate. Ultimately, Alfredo’s funeral at the end of the movie and the destruction of the town’s Cinema Paradiso combine to form a sort of conclusion of Salvatore’s past, however, it is not complete.

            Salvatore lived his life too much through the lens of a film. In the scenes where he is an older man, the colors are dreary and grayish, showing that he was unsatisfied living in his reality. He lived in this fantasy throughout his youth as seen in another scene when Toto says aloud “If this was a movie, this summer wouldn’t be so long.” Another scene that shows him striving for a fantasy life comes right after his mother finds out her husband has died. Toto walks with his crying mother and as they walk by a movie poster he excitedly looks on at that poster forgetting that his own father had just died. He turned to the movies to forget his reality.

            Cinema Paradiso contains many elements like the Classical Hollywood movie, but it also has modern deviations. Tornatore wanted his audience to relish in the love of film, but also realize that film is not reality. The audience in essence is able to experience a guilty pleasure because we get to enjoy Toto being completely lost in film and we almost lose ourselves in it. According to Bordwell, often in classical Hollywood movies the ending is positive and the protagonist reaches both goals- the quest is complete and he has passionately kissed the beautiful girl in the most terrific way. Tornatore’s film is realistic. There is no major quest- only life itself. The film plays in between realities. By doing so, it picks up elements of the classic Hollywood structure, but it does not follow the path completely because reality sets in at the end. Elena, this beautiful, yet mysterious girl (the audience never learns much about her personality, we only see her for her looks) is the love object in Toto’s teen years. Though for a short while, Toto and Elena live blissfully through a fantasy and dreamlike world complete with frolicking through the grasses, it does not last. Crushed by reality, Toto turns his full attention to the experience he feels through film and is never fully able to feel the deep love he felt for Elena with any other girl. Bordwell calls the ending in the classic Hollywood cinema “the cliché happy ending.” However, Toto never gets the girl and thus does not fit the criteria for the traditional happy ending so often seen in the classic Hollywood cinema. In my opinion, the biggest deviation of Cinema Paradiso from classical Hollywood film is in the resolution. The last scene is so beautiful when Salvatore cries as he watches all the kissing moments that were censored in the Cinema Paradiso (as seen in this youtube clip http://www.youtube.com/watch?v=wEFugVbzsSo). The one thing he missed out on in his life, what Alfredo had wanted him to find all along, was true love. In my opinion, the film shots make Salvatore realize he missed out on reality all along. 

Blog 1- Examining Film

“The Work of Art in the Age of Mechanical Reproduction” by Walter Benjamin was written in 1936 during the rise of fascism. Benjamin was a dialectical thinker and his essay elaborated on the good and bad of the film industry. I believe his criticism is a bit out dated, but also very on target. Film and film technologies are expressive and defining. Film has the ability to not only change the way we see the world, but also help us think about something for the better (and sometimes for the worse). Benjamin proved the point that film helps to influence and shape public outlook. For example, the documentary An Inconvenient Truth opened our eyes to the doom we may face if we do not change our ways in terms of reducing our waste and carbon output. This movie was one of the major contributors that paved the way for the current green revolution. With film technology in the 1930s, fascism was on display for the public eye and the people’s senses were conditioned to it and their minds transformed. Now, we can compare this influence to the Hollywood image. We’re all so obsessed with the idea of the Hollywood hills- the life, the fame, the money. It is something we all dream about. Why? Because film has made it look so glamorous. Benjamin must have been talking about the glamour of fascism that was made possible through the use of film. In this sense, his words are still very current. Through the camera lens, we are in awe of this idealist perspective- a “mass movement” provided by film.  

            Benjamin talks about the “aura” of a unique piece of art and the intense experience its audience feels when they view it. He believes that through mechanical reproduction, the mass effect of film allows for duplication and makes public different forms of art, and therefore the aura is lost. However, a new aura is formed. Film gives us an intimate connection to places we’ve never seen. Using film technologies like the shot/reverse-angle shot, the audience is pulled into the dialogue and we feel like we are listening first hand to the person speaking. Sometimes the actor even speaks to us. Film makes art relatable. Music brings in another dimension to film and allows for moods to develop anywhere from suspenseful to exciting. Music, film technologies and dialogue all work together to form this new experience. Yes, the mass audience can watch the film, but each person in that audience will interpret and experience that film in his/her own way. When we watched Fight Club in class, I reacted differently than my neighbor. For example, I cringed when a fight went on, while my neighbor laughed and eagerly watched on.

            Film is made up of many different elements and it is therefore a “criminal error” for a film to focus on a narrative alone. If a film only focuses on a narrative it would miss out on every other important part that makes up the movie. Every movie is unique in its interpretation of its narrative and perspective. Each film experience is different and special. Film elaborates and enhances the literature experience. It is a film’s job to do this enhancement or it would not provide an experience different than a novel. Film does not need to rely on its narrative, as it’s just one element. A good narrative can lead to a great movie, but a movie with poor narrative or none at all can still be one of the best movies of all time (considering it had advanced film technologies). The movie Amelie was one of the most innovative and whimsical movies I’ve ever seen, as it used a multitude of different film technologies from the close-up, the slow-down, and the long shot. These film technologies were used to help its audience re-examine and appreciate the little things in life and the events that often go unnoticed or just are not talked about. The film is also very random and does not rely on a strong narrative. For example, Amelie’s life changes when she hears of Princess Diana’s death. However, her life doesn’t change because she is saddened by this shocking death, but because she drops what she is holding and finds a box of treasures of a boy that once lived there. The narrative does not connect, but the film technologies used in Amelie are fascinating and that is what makes the movie as great as it is today. If Benjamin was alive to see the film Amelie, he would have probably agreed that this film allows for a unique intimate experience just like the experience of seeing an original piece of art. It’s really quite impressive.