EXTRACT: 1:01:45 - 1:07:27
IV. Narrative-
Sunset Boulevard employs a definite nonlinear narrative style, which begins with the exposition of the death of the main character, Joe. From this point, the film is narrated through voiceover by Joe, until his untimely death and ultimate resolution at the bottom of the pool. This form of nonlinear narration begins by hinting at the end, from which point plot elements are introduced in purely chronological order. Other than pure narration, Sunset Boulevard uses a theme of inescapability by showing the fate of the main character at the beginning of the movie. As Joe recounts the events that lead to his death, the audience has a predicted outcome. This is what hints at the movie being a film noir. Themes of entrapment and mundane life are prevalent in the genre, which are expressed through Joe’s pre established death in Sunset Boulevard. The characters are quite accessible to the audience. Joe’s voiceover helps with this connection between the characters and audience, as Joe’s predicament is understood more easily coming from the source.
V. Film Language and Representation-
EXTRACT: 1:01:45 - 1:07:27
This extract is particularly interesting, as it is a significant display of Hollywood’s human exploitation. In these five minutes, Norma Desmond’s delusions are emphasized, as she prepares to and meets De Mille, supposedly to have a conversation. In this scene in particular, the acting of DeMille is quite realistic, with dialogue that could be actually used by individuals in the film industry. Camera positioning is not quite as significant as the actions by the actors. Often in this scene, the camera is placed at eye level with the characters, and help accentuate their actions. Throughout the scenes in this excerpt, there are often large amounts of people surrounding Norma Desmond and DeMille in the studio. This constant exposure to large concentrations of people show an emphasis on the use of proxemics, or what is seen as an appropriate distance between actors. This develops meaning by showing how despite having adoring fans for a couple seconds, those will dissipate as soon as there is something else to ravish over. The scene is edited to show a progression of events and retaining the misunderstanding between Norma Desmond and DeMille. DeMille does not tell Norma what she was called to Hollywood for (the rental of her car), but instead the sequence shows how Norma remains in her ideal notion that she will be collaborating with DeMille on her screenplay. The lighting of the studio and outside the studio is dark with shadows despite little sun. The only emphasis of light is on the set and actions, and on Norma Desmond when the light technician shines the light on her. Shining the light represents the visual aspect of film as more significant that the audio portion. The music that accompanies DeMille’s walk back towards Norma Desmond is dark and ominous, even if the moment is very reassuring to Desmond, who once again has fans. Demille is seen as a slightly evil character, who calls off the crowd of admirers with his microphone. The sound editor could have decided to incorporate sad music, but by including ominous sounds clearly shows that DeMille knows he is a part of the industry that emotionally hurt Desmond, but does not care. In a part of this excerpt, Norma Desmond is sitting on the director’s chair (DeMille) and has a microphone fly past her and hit the feather on her hat. This specific mis en scene describes the basic understanding that Norma Desmond’s influence in film had deteriorated due to some form of technological or social change that left her “obsolete” and unwanted. While the film does not state a reason for Desmond’s career failure, there are several illusions. The first is a transition into sound. This abrupt technological transition for filmmaking ousted many actors unwilling or able to act in “talkies.” However, Sunset Boulevard does not in any way emphasize this reason as she does not have a distinguishable accent. It simply alludes this with the “microphone and hat” incident in the excerpt. Norma Desmond may also have acted in an unsuccessful picture and forgotten by fans, a potential reason for why Max pities her. Nonetheless, the adoration of the studio actors and designers in the excerpt do not hint towards this possibility in the slightest. Throughout the entirety of the film, in relation to my excerpt, there are several characteristic of Desmond that serve as symbols and metaphors. For example, there is the development of a “Spider woman,” especially on the placement of Desmond’s hands; often in the position of a claw. hand in claws. Norma Desmond’s cigarette holder also contributes to this “Spider woman” idea, which helps keep the audience emotionally “off-kilter.” Another deeply emotional use of symbolism are the vines covering the guest house Joe was first kept it. This is an obvious concept of entrapment, which once again fits with the Film Noir genre.
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