Scene from Fantastic Mr Fox- Fantastic Mr Fox-Chemistry – YouTube
The carefully crafted setting of this shot parallels that of a traditional laboratory found in a school; however, it has an inventive twist of being created for anthropomorphic animals. In the setting, subtle elements with implications of animal characters such as a canine anatomy poster in place of the traditional human version, the breakdown of layers of fur and skin, the posters detailing underground fox burrows all help add a societal reflected humoured and naturalistic world-building narrative to the scene. Creating an environment that humans are familiar with but putting a contextually understandable spin on it makes the characters inherently more relatable.
The meticulously planned costumes give substantial implications about the characters using generalised and stereotypical representations from real-life media. In figure 2, you can see the larger beaver character is dressed as a typically portrayed ‘American high school bully’ with the sports jersey on him, contrasting with the smaller and weaker character dressed clean and more ‘maturely’. This also appears in reference to the standardised ‘nerd’ seen in American high school movies. Reflecting on Anderson’s intention could try to accentuate past portrayals of classicly viewed characters and abuse this to further accessorise the characters’ actions, helping the audience gain a better understanding of personality without additional context and screentime. The costumes in figure 3 highlight the age of the characters in a specific clarity and their tonal ranges. The character on the right (Ash) is wearing a pure white cape with a suit which aids the development of his character, wanting to ‘show off ‘and be the centre of attention much like a superhero. The white indicates youth and purity associated with childhood and makes him stand out from the background, illustrating how the character wishes to be seen. This also draws on his neurodivergent qualities in a visually simplistic way. The character on the left wears a classically childish dress, indicating both age and gender is style, giving her an innocent and girlish appearance.
While the lack of general expression in the characters features can be accredited to the limitations of the stop motion puppets, the deadpan and flat expressions of the characters (figure 4) seem to aid the blunt and straightforward humour and dialogue found throughout the scene. This can also be seen in the characters’ very square positioning and underexaggerated movements, which further accentuates this static and formal feel. In the context of the film, the adults behave like children, and the children act like adults. This scene demonstrates this through how the characters interact with calm and emotionless mannerisms typically seen in people with more emotional maturity. It can also be noted further that there is a lack of adult supervision despite the dangerous use of fire and chemicals. In figure 2, while the characters designs are different in height and width, the positioning makes the two appear as equals in conversation, showing respect and civility. This contrasts with the generalised ideals the costumes tell us about how the dynamic should appear. In figure 3, the character dynamic is more strained, subtlety faced away from one another in a way that seems timid and closed off, suggesting a distance in the relationship.
The colour and tonality of Fantastic Mr fox overall seem to reference the original storybook by using bright childlike yellows as the foregrounding colour throughout the film. This could also be a homage to the original publishing date in the 1970s, which, as a period, is generally portrayed in media to have incorporated musky yellow and orange hues. This gives it a vintage effect to help further set the period. The key light on the characters in this shot is a top light, which helps set the scene further as the intended set is underground in tunnels and helps give a sense of where the sun is present. This also explains the very distinct points of light falling in specific spots, leaving most of the set in a dimness associated with the underground. The sun is also represented by the warm yellow tone that dominates all the background’s purposely lit areas. The only other noticeable lights are unnatural lights coming from the various liquids in test tubes, contradicting the top lightly with underlighting (figure 2 and 3) which helps spotlight the characters without affecting the rest of the set behind them and is reminiscent of torches.
The scene shows several reoccurring shots, which help symmetrically break down the set into two different distinct conversations that feel separate yet joined simultaneously by the actions to positions of the characters. In figure 3, the way the surface on the right looks off to her left shows interaction with something/ someone offscreen that opens up the scene to more than just the confines of the table, despite the very square and isolating shot. The positioning of the characters also indicates the relationships in a very subtle way; the character ash is on the furthest point on the outside, looking away from the others, seemingly estranging himself from his classmates. As eventually shown in figure 5, the character on the furthest right of the ‘room’ is very far away from the character on the furthest left of the room, adding exemplification to their distant relationship in the film. The character on the left of the screen is making eye contact with the character on the right in the previous shot ( figure 3), indicating mutual interest between the characters and offscreen building a relationship.
The cinematography of the shot powerfully illustrates the use of ‘Planimetric composition’ and is indicated in the very static and perfectly controlled camera motions (Bordwell and Thompson, 2021). This form of distinctly flat backgrounds and symmetrical shots, paired with the artist impressions on the fur of the stop motion figures, brings forward very intentionally the artist behind the film. Adding a certain unrealistic charm to the film could add to the childlike wonder of bringing toys to life in dollhouses, helping accentuate its target audience. There are only medium close-up shots in this scene that follow a ‘compass point’ editing style, only turning at 90-degree angles each time, keeping the background flat (Bordwell and Thompson, 2021). There is only one very controlled and fast-paced pan across one of the shots, which works well timing-wise to follow the characters gaze. The control and stillness of the shots accentuate the feelings of underground isolation and compliment the ‘square’ and symmetrical aspects of the room in a way that helps set the scene.
List of Figures-
- . Figure 1- ANDERSON, W. 2009 [Screenshot]. Fantastic Mr Fox. United States, United Kingdom: 20th Century Fox.
- .Figure 2-ANDERSON, W. 2009 [Screenshot]. Fantastic Mr Fox. United States, United Kingdom: 20th Century Fox.
- .Figure 3-ANDERSON, W. 2009 [Screenshot]. Fantastic Mr Fox. United States, United Kingdom: 20th Century Fox.
- .Figure 4-ANDERSON, W. 2009 [Screenshot]. Fantastic Mr Fox. United States, United Kingdom: 20th Century Fox.
- .Figure 5- ANDERSON, W. 2009 [Screenshot]. Fantastic Mr Fox. United States, United Kingdom: 20th Century Fox.
Filmography-
.ANDERSON, W. 2009 [Screenshot]. Fantastic, Mr Fox. United States, United Kingdom: 20th Century Fox.
Bibliography-
.Bordwell, D. and Thompson, K., 2021. THE GRAND BUDAPEST HOTEL: Wes Anderson takes the 4:3 challenge. [online] Observations on film art. Available at: <http://www.davidbordwell.net/blog/2014/03/26/the-grand-budapest-hotel-wes-anderson-takes-the-43-challenge/> [Accessed 1 November 2021].
Mise-en-Scene in a frame from Anamalisa (2016)
The frame exhibits information about the characters’ relationship, with subtleties of their personality shining through the set props. Initially, the hotel room setting indicates a potential romantic relationship between the two characters, especially in the instance of sharing a bed. The slippers and slightly messed up/ used bed reveal a messier and potentially more unkempt nature. This contrasts with the clean, perfectly in order and tidy side of the bed, giving implications of a more put-together character. However, the uneven amount of possessions in the scene insinuate that the room is only being used by the character on the left and usually is alone when going to sleep, hence why the other side of the room is immaculately unused in appearance. The facial expressions emit a feeling of contemplative melancholia; they are earnest and give the impression that the scene’s topic (or complete silence) is quite heavy in subject manner. The way the character on the right is hugging herself and closing in on herself makes her appear shy and insecure. While the man on the left is slightly contradictory in body language and seems more relaxed and open than the woman, the way his arm closes in on his left, seemingly intentionally not touching the woman, indicates a slight strain/ distance in their relationship. The lighting in the scene is dim and slightly hazy, not starkly illuminating anything that exemplifies a monotonous atmosphere. Giving prominence to this is the dull and desaturated colour scheme, which, while inherently shades like brown are warm in tonality, appear cool and flat. A feeling of ‘coldness’ is also evinced in the lack of personal items and ample spacing between furniture. Additional realism is created by this unvaried environment, as it accentuates a dullness reminiscent of an actual dimly lit and old hotel. The high angled shot gives a very symmetrical and flat view of the scene, only adding to its general monotony. The central positioning of the characters draws stark attention to them, and the dullness of the colour scheme and the lack of objects around them only bring them out further.
List of figures-
.KAUFMAN, C and JOHNSON, D. 2015 [Screenshot]. Anomalisa. United States, United Kingdom: Paramount Animation.
Filmography-
.KAUFMAN, C and JOHNSON, D. 2015 [Film]. Anomalisa. United States, United Kingdom: Paramount Animation.
Relationship and Mise-en-scene in Rebecca (1940)
The implication of the relationship between the two characters in this scene from Rebecca (1940) that the mise-en-scene presents is distant and unequal in power. Throughout the scene, the characters maintain a set distance from one another, the younger girl seemingly uncomfortable in her presence and moving a safe space away. She always knows where the other is located. The positioning of the characters indicates that of a power dynamic; the lady dressed in black often stalks over the younger girl and glares at her without often breaking contact (figure 2). The symbolic colour value contrast of the white and black costumes pays into the stereotypical Good vs evil, angel vs devil ideals ingrained in media portrayal. This in itself foreshadows potential future conflict between the two. The innocence of the younger girl is also accentuated in the flowers detailed on her dress. The stiff and controlled posture of the older woman shows signs of pretension and arrogance paired with a deadly sort of grace, giving her an air of importance. In addition to this, the camera appears to follow her around the scene, rather than the younger woman, giving further implications of dominance.
The younger woman fiddles and moves around a lot, contrasting with the elegant stillness of the other, highlighting a sense of nervousness and lack of emotional control. She portrays her actions in a very self-conscious manner and seems to constantly look back and forth from the other lady, almost as if seeking approval. This brings into light an unhealthy, practically mother-daughter relationship. The dreary rain outside the window sets in a tone of isolation that encloses the conversation in a way that makes it more private and uneasy, heightening the sense of threat. The lighting is quite strong and casts shadows that distort and elongate the vases of flowers and foliage outside, which presents an eerie and unsettling feeling to the room that is supposed to be comfortable. Overall the scene succeeds in creating a strained and uncomfortable relationship between the two women.
List of figures-
.HITCHCOCK, A. 1940.[Screenshot]. Rebecca. United States: Selznick International Pictures
Filmography
. Rebecca. 1940. [film] Directed by A. Hitchcock. United States: Selznick International Pictures.
Mise-en-scène breakdown from Breadwinner (2017)
The shot in its appearance seems to be a medium close up, giving solid details of the characters faces and upper bodies while also giving screen space to the environment they are placed in. The camera’s angle appears to be at eye level, which builds a connection between the main character on the screen and the audience. Positioned in the dead centre of the frame is the main character, making them the very apparent centre of attention. The character is wearing a bright pink girlish headscarf, which helps the audience understand their cultural and geographical setting (for example, an Arabic/ Islamic country). The bright pink draws the viewers’ attention and indicates girlish femininity and brightness to the character, making them appear innocent and childlike; the colour contrast implies they are brighter than their surrounding world. Displaying a deep depth of field helps further to build the surrounding world. Predominately featured in the background are the backs of people’s heads, which the lack of facial expression creates a sense of isolation for our character. The one other face in focus suggests a mild threat which coincides with the central characters nervous and worried posture and facial expressions, especially in the case the direction of her eyes draw you to the right of the screen. The frame’s colour tones are generally warm, which gives implications of a country/ word; this place has hot weather, supported by the natural lighting that is dominant in the scene’s background. There is key lighting on the main character, which illuminates the colour tones of their outfit, increasing the effects on singularity and identification. Contrasting with the characters expression, the overall background combined with tone and lighting feels warm and homely, aiding the context of the character’s environment and perhaps interacts with regularly.
List of Figures-
. TWOMEY, N. 2017. [Screenshot]. The Breadwinner. Ireland, Canada, United States, Luxembourg, United Kingdom, France: Aircraft Pictures, Cartoon Saloon, Melusine Productions.
Filmography-
.TWOMEY, N. 2017. [Film]. The Breadwinner. Ireland, Canada, United States, Luxembourg, United Kingdom, France: Aircraft Pictures, Cartoon Saloon, Melusine Productions.