Scene Deconstruction

Here is a link to a pivotal scene in 2001: A Space Odyssey:

http://www.youtube.com/watch?v=Y15NnGZIBuM&feature=related

This movie has plenty of themes to it, many that fans debate about to this day, but the main theme I see being exemplified in this particular scene is the evolution of man; more specifically, any of the focal points in life when new knowledge is attained.  The monolith that these apes have come across represents gained knowledge.  Such learned attributes has brought them to a new level of developmental growth, and this scene conveys that message in a very active tone, as there is no dialogue to guide you literally.

The two aspects of this scene that best illustrate the theme and symbolism at hand are movement and space.  Considering the director’s use of space first, it is important to look at the monolith’s placement in every shot in which it is present.  The monolith itself, being the center of visual interest for every frame following its introduction, takes up the majority of the screen.  Its presence and existence to the apes is mammoth and gargantuan; it is something they have never seen before.  The subtext of this message suggests that the monolith represents a new frontier in human knowledge.  Just like what it describes, it is at first difficult to comprehend and ominously intimidating.  So, to convey this feeling of intimidation and fright, the space is ordered so that this obelisk of mystery takes up as much room as the frame allows.

Movement is the secondary tool used to write out this theme.  The apes, in reaction to the monolith, are frantic.  At first wake, they are slow to realize what lies in front of them.  After a short moment of drowsy awe, they all spring into frenzied chaos over this gigantic protrusion.  All of this hustle and bustle of characters further reinforces the theme of man’s reaction to new frontiers.  Tension builds as orchestrated music grows more intensely while the apes inspect the statue, instating the apes’ immediate instance of confusion and panic over the news that has come about.  Release occurs at the peak of this string and choir section as the camera gazes at the impending eclipse in the sky in line with the obelisk when the music ceases suddenly.  This release symbolizes the completion of the process by which the apes have acquired the knowledge.

Animation Deconstruction

Here are two different images from the animated movie The Nightmare Before Christmas:

Producer Tim Burton was adamant about the visual appearance of this movie to be primarily associated with darker tones and grim looking, black settings to match the themes of Halloween, ghosts, and monsters.  Regarding color, Burton instructed animator Henry Selick to use a variation of hues that rest on the darker side of the palette.  Both of these images have an affinity for this aspect; the top image showing a snake that is devouring a tree to be striped black and mustard yellow in a shrouded room, and the bottom image displaying Santa Claus wrapped in a black bag surrounded by a town built out of entirely stone bricks whose color resembles that of bituminous coal.  The brightness in both images only serves as whatever contrasts the scene.  For instance, the sterling silver Christmas tree in the above frame and Santa Claus’s bright red suit in the bottom are the outliers of each picture.  To convey such dark tones, Selick made sure to also saturate these colors to intensify their darkness.  This can be seen in the town bricks in the below photo, as well as Santa’s suit; and the above snake’s color, to draw more attention to it.

Since striving for a dark and eerie atmosphere is the goal with this animated film, brightness is a key factor in developing every frame.  There is no foreground to be seen in the below image, but shadows are completely apparent in the first picture.  The screaming child is enhanced by his shadow, as is the snake and the doorframes.  As with all typical symbolism, objects that are lit most brightly are the ones that hold some sort of considerably good or well-being significance.  In these images, those brightly lit objects are the Christmas tree (a symbol of togetherness and giving) and Santa Claus (a holiday icon, who stands for the same morals).  The Nightmare Before Christmas’s mood can be seen easily within these pictures.  As I explained earlier, the central emotion that can be felt during this movie is a sense of dourness and grisliness, as illustrated by consistent dark colors and dimly lit backgrounds.

Storyboard Imitation

Here are the first five shots and overhead schematic for the scene I chose from The Dead Zone.

In this particular scene from director David Cronenberg’s The Dead Zone, three people have just entered a room; a father, his son, and Christopher Walken’s character.  Usage of the rule of thirds, the 180 degree rule, and the 30 rule are integral here, as this is a conversational beat.

Regarding the 180 degree rule, which states that the line of conversation or action between two subjects cannot be broken by said margin of measurement; the director does a fine job of obeying this cinematic law.  The line of action in question here lies between Walken and the father, as they share the only lines spoken in the short scene, and they are directed at one another.  The switch in camera angles follows a nearly perfect diagonal line from the two.  Also, this rule does not get broken because all the characters in the scene are there from the beginning and no new ones are added, nothing is cut away to, the characters do not walk anywhere, and the camera is stationary at every angle; it does not dolly.

The rule of thirds is obeyed quite flawlessly within these shots.  Because the first half of the scene jumps back and forth from Walken’s action and the father and son’s reactions, a lot of medium shots are employed to capture each subject’s visage.  None of these medium shots infringe on the rule by avoiding centering the subject in the frame, disallowing a dull or boring image for the viewer.  Walken’s medium shot is accompanied by a fern, a side table, a vase, and a windowed door to even out the space.  The two closer shots of the father and son also feature external objects to fill out the space such as windowed doors and curtains in the background.

Cronenberg also does a fantastic job of representing the 30 rule.  This primarily occurs during the cut back to Walken after he smashes the vase and delivers his dialogue.  The camera zooms in on Christopher almost exactly 30% in order to evade having a jump cut take place.