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.
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.