2001 - Mise en scene

2001: A Space Odyssey is often considered a revolutionary film not only in the science fiction genre, but in the overall complexion of cinematic history. Stylistically, science fiction is among the most recognizable genres in film, and at first glance 2001 appears to adhere to its traditional staples. Although the film utlilizes the conventional motifs of space travel and technology, Kubrick crafts the mise en scene of 2001 to scrupulously explore each of these concepts.

Among the most indicative techniques used by Kubrick in 2001 is the long shot. The long shot sacrifices minor details in favor of observing the big picture, both of which prove to be conducive to the statements being made in this film. Sacrificing minor detail reduces the impression of human presence, while the big picture reveals the ideologies that have replaced it and become dominant instead. With the long shot the frame can focus on its subject while also observing the largest possible scope that depicts the elements that are influential to the subject's surroundings. In 2001, however, the elements are few. Instead the subject is enveloped in a seemingly endless environment.

This technique is integral because it relates back to Kubrick's commentary on the concepts of space travel and technology. With the long shot, characters are rendered almost completely helpless, either within the infinite emptiness of space or the overwhelming complexity of their technology. The film uses these two concepts almost interchangeably, encouraging parallels between the two especially when it comes to what cannot be grasped or overpowered. Scenes outside of the ship portray an abyss so vast that it is unfathomable. Likewise, characters' unquestioning reliance on the superior technology within the ship is expressed by the fact that the sea of machines within the frame are indistinguishable from one another.

Scene Analysis - The Conversation

The film, The Conversation, intentionally employs an extremely limited perspective within the film's sujet. That perspective is almost entirely exclusive to the film's reclusive protagonist, Harry Caul.

As a renowned surveillance expert, although it has distanced him almost entirely from having a personal life, Harry's solitary nature has rewarded him with success by allowing him to remain detached from those he observes. He struggles to separate the neutrality of work with invasive curiosity, though, when he begins uncovering a murder conspiracy.

One scene that insightfully characterizes this is in the argument that Harry has with Stan while attempting to focus on the conversation. The scene intercuts between the man and woman's dialogue and Harry's dispute with Stan. It serves two essential purposes. There is the more obvious intention of progressing the storyline of the conspiracy for the audience, but there is also the less explicit unveiling of the development of Harry's character.

As the recorded dialogue plays, Stan cannot resist asking Harry nosy questions, provoking Harry. Stan's innocent inquiries cause Harry to grow defensive, insisting that what he is doing is work and not infringing on anyone's privacy. This examination of Harry's morality is punctuated by his demands that Stan abstain from cursing.

In the end, Harry earns his own privacy. With Stan gone, Harry finally indulges his curiosity by unscrambling what is clearly the most dramatic moment of dialogue, exposing the possibility of murder both for himself and the film's audience.

Narrative Structure of The Graduate

The film, The Graduate, exemplifies the standard three act structure that has become emblematic to the cinematic narrative. The film follows the protagonist, Ben, a recent college graduate who has acheived success academically but struggles to find direction after receiving his diploma.

The setup of the film portrays this struggle as Ben insincerely accepts congratulations and lazes around the house. Ben's pre existing life is disrupted by Mrs. Robinson who proposes that they have sex. Ben resists initially, but after returning to his normal, monotonous daily routine he decides to pursue an affair with Mrs. Robinson.

The two of them continue to meet secretly at night, while Ben remains content to lounge around at home during the day. His parents grow suspicious of Ben's habits and try to persuade him to move on with his life, but Ben refuses to make any changes. Ben and Mrs. Robinson's arrangement is nearly ruined when she forces Ben to promise not to date her daughter. Although he is offended, Ben agrees. However, Ben has no choice but to go on the date with the daughter, Elaine, when Mr. Robinson and his parents coerce him to do so.

The midpoint of the film follows when Ben's plan encounters the complication of Elaine. Ben intends on keeping his promise to Mrs. Robinson by sabotaging his date, but finds out he has feelings for Elaine. They continue to date and grow closer until Mrs. Robinson finds out and threatens to reveal everything. Ben has no choice but to tell Elaine on his own, resulting in the second major reversal.

Ben follows Elaine back to school and nearly convinces her to marry him. However, Ben reaches his lowest point when Mr. Robinson finds out about the affair and threatens to take action if Ben comes near their family, and Elaine intends to marry another man.

The third act has Ben racing to the wedding. He arrives in time to rescue Elaine and the two of them escape on a bus.