Oral Presentation Questions

Genre and Audience
The genre of this tv show is a crime drama that incorporates aspects of black comedy to create a general aura of secrecy, intimacy, and- at times- a total lack of control. General elements that lead to this determination are the strategically placed audio climaxes, tight framing throughout, and the continuous accumulation of suspense and fear. Works synonymous with Breaking Bad are TV shows like The Wire, The Shield, House of Cards, and Mad Men. These works often attempt to expose conflict at the various times in which they are set, as well as social issues of the time. Breaking Bad, produced by Vince Gilligan, sook to expose the socio-economic issues faced by a lower-middle class family in the late 2000s. It covers topics like cancer, drugs, family economic issues, and the desperation that ties all of these elements to a general theme. Gilligan has produced other TV shows, including The Lone Gunman, and the X-Files. These shows have undoubtedly contributed to the development of Breaking Bad, and there are several themes that are reflected across all three shows. Most crucial of the themes are those that apply to the current socio-economic factors, a criteria in which Breaking Bad excels:

Historical and Institutional Factors

Vince Gilligan began the production of Breaking Bad to demonstrate how a hero could become a villain in an ordinary setting. I believe that to achieve these directives, Breaking Bad relies on the underlying desperation of Walter White caused by his socio-economic class. Gilligan targets a segment of the population hit hardest during the economic recession that occurred in the late 2000s (the lower-middle class). While barely remaining financially viable at both his jobs, Walter’s situation is exacerbated by a perfect storm of events- the cancer diagnosis and the upcoming newborn- which leads him in desperation to the production of meth. During the late 2000s, the expansion of drug cartels and retaliation by the U.S. government resulted in increased domestic tensions, as well as an increasing fear for growing drug rings on the American front. The episode specifically targets all of these aspects, and is able to integrate well as a representation for its time.

Socio-cultural Context

This piece was created in the United States, and comment largely on the major issues of the time period. Although the first episode (the one being studied) does not entirely answer the questions posed, Breaking Bad So1 Ep1 exposes very complex issues on morality and the justification process. Walter White’s endeavours are all for his family’s benefit, nevertheless his actions deserve sound criticism. It is this repressed guilt driven by desperation that Gilligan uses to derive a commonality that links financial issues, drug use, and disease in a way that appeals to the average, lower-middle class individual. It is difficult to associate this particular episode with a specific genre evaluation, but it most closely resembles that of a revisionist crime drama. This deduction is based on the quasi-new approach undertaken by Gilligan in Breaking Bad. The TV show seems to specifically aim to please the American public, complete with very intense action, some comic absurdity (when Jesse exits the building of the original meth lab), and the complex relationship that forms due to the lies that form between Mr. and Mrs. White.

Narrative

Breaking Bad employs a definite non-linear narrative style, which begins with a scene with Walter White, obviously distressed, in the desert. From this point, the episode is continuous, until the reiteration of the first scene. This allows the confusion and suspense to grow progressively as the episode continues. This recursive framing device is key to the development of suspense and anticipation that drives the plot. Additionally, the unsteady camera work throughout lends itself to the generation of an unsettling attitude towards Walter and the desperation of the events that encircle him.

Film Language and Representation

EXTRACT: 29.05-34.15

In these five minutes, Walter White's desperation begins to manifest itself, as he prepares to and meets with Jesse. In this scene in particular, Walter is acting on his extreme desperation in an effort to propose a collaboration with Jesse in the building of a meth lab. This scene exposes the key elements of black comedy, as the incompatibilities of Walter and Jesse are blatantly obvious. 

When Jesse hears the proposal, this incompatibility is the basis of his retort, which is cut clear by Walter's blackmail. Here we clearly see the establishment of Gilligan's intent to create a show in which the hero would turn villain. The premise of this unfortunate transition is initiated by the blackmailing of Jesse, who (not an innocent man himself) bonds with Walter. This scene cuts immediately to Skyler and Marie (her sister and Walter's brother-in-law) packing items sold on eBay. The scene prior to this one (with Walter and Jesse) is darkly lit, while the latter is relatively light colored and more joyful. Similar elements of blackmail (with Marie asking intimate questions) are visible, but obviously not as dramatic as those seen with Walt and Jesse. In effect, both Skyler and Walt are addressed their economic situation as they see fit. Skyler is doing so in a way that is more legal (hence the change in lighting), but Walt is doing so in a way that appeases his desperation. This way, the characters immediately appeal to a large audience, simultaneously targeting audiences that enjoy desperation and those who favor realistic socio-economic contexts, particularly for the time in which it was created. Following this discussion between Skyler and Marie, an audio track begins to play as Walter is seen stealing materials from his school lab. Although the action itself is fairly immoral, the audio track is very light, almost amusing. This again emphasized the dark humor present throughout the series, as music fit for a lounge accompany a visual scene of secrecy and desperation. In fact, the music seems to emphasize the desperation, and elicits a response when the camera finally rests on Jesse, sitting in a lounge chair. When Walter speaks with Jesse, the music fades out quietly, but the outtakes on both sides remain light-hearted and humorous. This tone is therefore instrumental to the proceedings: Jesse and Walter have established all the above elements in these five minutes.

Genre of the Film

For the IB Film Oral assignment, I will be analyzing the pilot episode of the Breaking Bad TV Series (2008), a crime drama with elements of black comedy.

Definition of each Genre

Crime dramas are filmic representations of criminals, law officials, and offer a commentary on the dynamics that separate these two groups. Black comedy is best defined as a satirical portrayal of society.

Historical Significance of each Genre

One of the first crime dramas created for television was a series called "Dragnet." This show dramatized real-life crimes of the police in the L.A. region. It was not particularly popular at conception, but gained popularity as time went on. It was quickly copied by others, including 'I Spy' and 'Police Woman.'

One of the first black comedies created were novels, including Directions to Servants (1731). These were later adopted in film, particularly in post-war Germany, when satire was highly prevalent towards the hatred for the other European countries.

Application to Movie

There are many tight shots, which contribute to a sense of questioning by the audience, as if each detail in the shot could be significant in the following seconds. Additionally, the excerpt contains some key examples of black comedy. The concept is somber; an intelligent man turned criminal, but the combination of the two (a teacher and a meth dealer) seem so preposterous when juxtaposed, thus creating this sense of black comedy.

Mise-en-Scene Analysis

1. Framing and camera angles are extensively used in the analysis of American Beauty, primarily to characterise the changing dynamic in the interaction between Lester and his new boss. In the original scene analyzed, this interaction is slated to favor the new boss, with high angle shots of Lester, as well as very large amounts of headroom and additional space surrounding his character. This serves to frame Lester in a submissive attitude, which is ultimately a successful endeavour. Lester seems small, insignificant, and lost. The scenery and shot composition is also analyzed briefly, to determine that having drab office components ultimately result in the appearance of an unenthusiastic workplace. Additionally, the aspects of the boss’s desk reveal a conformist mindset, as well as an oppressive leadership. Even Lester’s body position and clothes are analyzed, ultimately to show Lester is the submissive individual.

2. Next, similar detailed analysis of framing and camera angles from the initial scene is applied to a later scene in the movie. Here, Lester has taken more or less control of his life and has become dominant in his interactions with his boss. This ultimately forms the appearance that Lester has overcome the conformity and oppression. He has refused to remain a static worker at his job; he has ambition, drive, and passion. Ironically, these are probably the traits the new boss had wanted Lester to adopt, but when Lester finally accepts his status, he decides to quit his employment. This meaning is entirely derived from the changing dynamic of the interaction.

3. A similar analysis can be performed on the “desk” scene of the first Matrix movie.Neo seems very small and insignificant in comparison to the Agents, primarily due to the framing involved in the scene. The majority of the time Neo spends on the ground, running from the Agents. This naturally creates a dynamic in which Neo is a submissive character, the agents are frames in a low angle, empowering shot, while Neo is looked upon by a high-angle shot. Similarly to the initial scene of American Beauty, Neo and the Agents are involved in a difficult dynamic: Neo is Lester, the Agents are the new boss.

Please Don't Hack Me, North Korea: A Mise-en-Scene Analysis of a Still Frame from The Interview

The following, like all entries on this blog, is a school assignment. The author does not necessarily wish to imply negative feelings towards any party, although he is vehemently against the North Korean deathcamp regime. He fully supports the release of the film The Interview. Thank you.

Bolded words are the components that had to be addressed by this film blog post assignment.

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This still, taken from the [controversial] film The Interview (Seth Rogen, Evan Goldberg 2014) serves to establish key tensions of the movie, as well as key tensions regarding the film’s commentary towards North Korea itself. Specifically, this scene was created to dramatically introduce Kim Jong-Un as the DOMINANT in both the shot and throughout the entire movie. The shot’s COMPOSITION consists of“Kim Jong-Un” predominantly portrayed in the foreground, holding a cigar and surrounded with dark-clothed bodyguards. Kim Jong-Un, also wearing black, is inundated with light, forming a high contrast to the guards and establishing a dominant position. The cloud of white smoke, also emphasized by the LIGHTING of the scene, poses as a manifestation of North Korean secrecy and instability. The lighting is also significant as a manner by which Kim Jong-Un is introduced to the audience. The light is harsh in Kim’s face, but absolutely lacking around the guards, providing a high contrast that contributes to his “isolation.” This gives Kim the appearance of superiority, which the character assumes throughout the movie to mimic the similar abuse of power in North Korea.
The SHOT TYPE of the still is relatively plain. A medium shot captures Kim and his bodyguards from right below the waist. Since this film is a comedy, this particular decision to frame the shot in this way may be significant. Kim Jong-Un (in real life) has recently undergone health issues related to gout. This may simply be an attempt by the directors to comedically portray his size, a topic that has recently been discussed in Western media sources.

Nonetheless, the shot still generates a sense of confidence from the men and Kim himself, particularly due to the CAMERA ANGLE. The camera is placed far below Kim’s eye level, which also contributes to a dominating impression of the character. The scene’s COLOR also lack a comedic element, as it is very cool (meaning a lot of blue and black). In many other comedies, shots are predominantly warm, or brightly colored. The dark and cold tones in this still may serve to remind the audience that despite the trivial mischief portrayed in the movie, there is a unfortunately a real Kim Jong-Un who submits his people to actual misery.

The still was shot using a wide angle LENS, as the men standing behind Kim are well visible, but the background is ever so slightly blurred. Choosing a wide angle lens here is wise, as it forces the audience to focus on Kim Jong-Un’s character. The shallow DEPTH OF FIELD also forces the eye to look primarily at Kim and the closest bodyguard, and the CHARACTER PLACEMENT of Kim easily allows the audience to associate Randall Park with the character he is impersonating. Although all the characters have full-front STAGING POSITIONS which would suggest all characters in the shot were of importance, the audience can easily identify Kim through CHARACTER PROXIMITY; Kim is featured nearest to the audience. This also contributes to the growing consensus that Kim is the primary target of this film; the comedic outtakes are at his expense, for good or for worse.

After some time, however, the audience is able to take advantage of the wide-angle shot and notice the faces and uniforms of the guards through SUBSIDIARY CONTRASTS. There is very little visual information concerning the location of the still, although it is clear the men are indoors. This choice further contributes to a general sense of inescapability; this entrapment applies to both Seth Rogen’s and James Franco’s characters, as well as the North Korean people.

Mainly through light and color choices discussed above, the still seems to be infused with visual information DENSITY. The texture of the still is highly detailed, forming an impression of encroachment and oppression, again adding to the theme of the movie. The shot’s FORM is closed, isolating Kim to actively introduce the character. In this way, smaller details are made clear to the audience including the cigar and lapel pin, both objects often attributed to Kim.

The FRAMING of the shot also generates a feeling of impending catastrophe, the tightly composed framing does not allow Kim to move easily.This may be interpreted as another comedic outtake on the “weight” issue of Kim, but it may also be to create a negative attitude in the audience towards Kim; the still seems as if Kim was about to encroach on the audience’s personal space with his massive figure.

In conclusion, the techniques incorporated in this still contribute to the filmic themes maintained throughout the film itself and actively comments on the predicament of North Korean citizens. This movie, although lighthearted in nature, poses serious issues concerning North Korea that will need to be resolved.