Film, Space, and Mise-en-Scene

Reading Summary

This chapter outlined the many different methods and techniques to filmography. The first topic the chapter describes are the many different types of shots that a director can use. The first of these that are described are different focal lengths, distances, and angled shots. Additionally, different perspectives, movements, and emphases create different moods and focal points for the given shots. The second topic focused on is the different ways that shots can be sequenced together. These range from linear, elliptical linear, associative, and montage, which essentially describe how explicitly scenes will be linked together through time or objects. Branching off of this, many different cuts exist to allow for increased focus on particular elements of a scene. Finally, between these cuts there must be transitions. Like cuts, they can range from very direct to very faded and drawn out. These different choices reflect different focal points, moods, and environments that the director seeks to emphasize.

Outside Example

After watching Joker, one of the first things that stood out to me besides the incredible acting and storyline was the remarkable cinematography. In particular, the elongated shots and cuts and how those choices significantly influenced the tone of the film. A few stood out to my especially. First was the opening scene that panned into the Joker as he did his makeup and then did a close up on his face, showing his different emotions. Second, the many long sequences such as when he chases after his attackers in the opening scene, his journey to the bathroom where he identifies himself as the Joker, or his dance down the stairs as he begins his final mission all stand out to me. Furthermore in terms of sequencing, there are many openings to fan theory because of the vagueness in connecting Joker’s story (since he is a mentally deranged individual) such as whether there are multiple Jokers, if his lover was even real, or if this story was made up entirely. All in all, the cinematography in this film is exceptional and used many of the techniques described in the chapter, which is why the film was nominated for Best Picture and Best Cinematography.

Reading Connection

There are four scenes I would like to focus on.

First is the opening scene. It opens with a tracking shot closing in on Joker before doing a close up of his face. As the radio plays talking about the horrible news in the city, it shows Joker forcing the different emotions on himself as he prepares for work, which is an essential theme through the movie.

Second is the second scene of the movie, where Joker is attacked by teenagers. The scene uses many tracking shots as it follows the teenagers and Joker through the city as the chase ensues. Once he is jumped by the teenagers, the focus is drawn to Joker as he looks lifeless in a full body but zooming in shot of the hopelessness he feels.

Thirdly is the scene where Joker makes his bolt to a public restroom, where here he finds his identity and engulfs himself as “Joker”. There are only two cuts in a scene that lasts about 1:40 in the tight vicinity of the bathroom, however the range of angles, zooms, focal lengths, and camera movements put the audience member in the scene with Joker. As he carries himself through his emotions, the audience is there with Joker as he dances away his struggles and embraces his identity.

The final scene I want to draw attention to is the scene where Joker dances down the long plight of stairs before he begins what will be his final night of famelessness in Gotham. In terms of the plot, this scene is the expression of joy for Joker as he unapologetically embraces who he is and why he is. The scene uses countless cuts, zooms, angles, and depths, but all in all captures the same emotions: relief and joy. As the scene slows down in frame rate, you can see Joker truly enjoying the moment before he is sucked back into the reality of the moment before the investigators begin to chase after him.