Storytelling
is the main goal of Hollywood cinema and is propelled by the characters within.
New Line Cinema’s ‘The Hobbit: An Unexpected Journey’ is a fantasy, adventure
film which holds no exception. There are many vital cinematic and narrative
techniques used to establish character in the scene where protagonist Bilbo
Baggins The Hobbit meets Gandalf The Wizard. Character movement and setting are
two important aspects of mise-en-scène which build Bilbo’s character in this scene. When Gandalf faces Bilbo with the
idea of adventure, a central concept to the film, he is noticeably confronted
and subsequently acts surprised and confounded. We learn more about this central
character through his movements when he awkwardly retreats back to his small,
underground home. This reflects the mindset of the hobbit’s reserved,
sheltered, habit driven lifestyle. Further developments of Bilbo’s character can
be derived from the extravagant scenery.
The
luscious green background literally represents the desire for adventure in the
back of Bilbo’s mind. All of this information leads up to the point where he locks himself inside his home, an important part of
the scene as we can readily identify the
emotive contrast between his need for a lifestyle adjustment and determination to
not. This scene is an essential ingredient in the propellant of the storyline as
it firmly establishes character through unresolved conflict.
Commentary 2: ‘American Beauty’ (1999)
This image from ‘American Beauty’ is a
perfect example of how filmmakers manipulate mise-en-scène and cinematography
to convey character information. If you notice the way the slightly high angled
camera frames Lester Burnham’s desk area, you can feel an entrapping notion as there
is shallow space. This is made to reinforce the very same feeling of entrapment
experienced by the main character. It can also been seen that the lack of
direct lighting along with the bluey-grey colour scheme connotes a deprived sentiment.
Another device which takes
advantage of the subtly dull visuals is the placement of props. As shown
in the image, the desk is cluttered with objects representing Lester’s uncontrollably
dim and sedated psychological state. The most attention grabbing image of this
scene is the computer monitor. We can see this as it is positioned centre frame,
reflecting Lester in a medium close-up fashion. The vertical lines of information
on the computer’s display pose as jail bars, locking the imprisoned character within
the context of his monotonous work lifestyle.
Being positioned to accept that Lester is an emotionally trapped, sedated and monotonous man, we can see that the goal orientation of his character is to overcome these feelings. This gives us a scope of what to expect in subsequent scenes and helps encourage the narrative structure of the film.
Being positioned to accept that Lester is an emotionally trapped, sedated and monotonous man, we can see that the goal orientation of his character is to overcome these feelings. This gives us a scope of what to expect in subsequent scenes and helps encourage the narrative structure of the film.
Commentary 3: ‘Breaking Bad’: Season 1 Episode 1 (2008)
One of the more obvious narrative aspects used in Breaking Bad’s
pilot episode is the flash-forward. This technique is used to give a viewer
exclusive insight into the main character’s outcome in terms of situation, personality
and morality. The episode starts off with a cold open, showcasing a dramatic,
action packed scene involving protagonist Walter White. However, only at the
start of the subsequent scene does the viewer understand the temporal order of
the initial events.
The
narrative type changes from restricted to unrestricted between these two scenes
as the audience is already aware of Walter’s future whilst he remains oblivious.
This causes the story to drive on with anticipation as the audience revaluates
the causality of the unfolding events. The effect of this non-linear ploy is
evident throughout the entire episode as we are positioned to actively engage
with Walter’s character transformation. For example, instead of viewing his initial interaction with DEA brother-in-law, Hank, as a routine character introduction, we curiously question if and how he would have significance to the opening scene. Therefore, it can be said that the flash-forward technique is a very important tool in film and television storytelling.
