Philosophy of Film Analysis

Inevitably, when analyzing a film, a philosophy emerges that is uniquely reliant upon many deliberate factors, the most important being the use of mise en scene and cinematography, and, in the instance of the two example films, to a lesser extent, editing and sound. The use of these techniques must be deliberate because they are designed to evoke emotional responses in viewers. Obviously, there are many differing philosophies about what makes a film memorable, however, this paper is not concerned with the philosophy of semantics, or of the equivocity or univocity therein, but of concrete utilization of the particular techniques listed above. Analyzing two contemporary films, American Beauty and American History X, a philosophy emerges that encompasses both societal and artistic nuances that ultimately wrest deep-rooted emotional reactions, not all of which could be considered comfortable for the viewer. These reactions would not be as profound if the director of each of these films did not have a powerful understanding of how to use mise en scene, cinematography, editing, and sound.

The consequences of carefully orchestrated mise en scene on an audience can’t be underestimated. For example, in the film American Beauty (Mendes) the opening sequence evokes an unsettling emotional response that is sustained throughout the story. The mood that emerges is brought about through the use of space surrounding various images and the composition of the subjects. The subject is the outward appearance of a perfect suburban American family that the audience is selected to voyeuristically follow. This voyeurism is reinforced by the omnipresent camera angle that descends over the setting and the individuals in the film who represent a typical American family. The camera allows us to keep our distance, yet the viewer feels special because the voyeuristic use of the camera is empowering to the viewer, as if the viewer herself is navigating the camera. The camera swoops down over the suburban sprawl that forms the setting and then tightly wraps around each character, most notably the close-up shots of Lester’s wife, Carolyn, and his daughter, Jane.

Within the first couple frames, the viewer is literally positioned above everything that is visceral and tangible. The viewer is part of the camera, and through the opening dialogue, what is revealed is that the speaker is dead and he is about to recollect his story. This memory that the viewer is privy to, is made even more special as the viewer joins the camera and is pulled into the ensuing scenes by a voice that is as smug and churlish as it is at once confessional: “Of course, I didn’t know that [I would be dead] yet” (Mendes).

The beauty that the title of the film suggests is exemplified further through the mise en scene technique of using objects to convey the director’s philosophy. Identifying the philosophy is made more apparent through the use of certain objects. In this movie, roses and a wind-swept plastic bag reinforce the philosophy of the ubiquitous and tenacious presence of purity in the world.

In the film, American History X (Kaye), the cinematography is the thread that leads to a philosophy about the abhorrent and devastating affects of bigotry and violence on the human psyche. Particularly horrific in its amplified subject of bigotry is the “curb stomp” scene. Here, the cinematography might as well function as a completely independent character, so powerful is its performance. Shot in black and white and at night, the lighting is so accentuated that every nuance on the main character’s face is captured. Under the stark light of a street lamp, a gamut of emotion engulfs every character; from rage, to fear, to terror, to glee, and back around again to rage. The cinematography seems to encircle the viewer in a capacity similar to stalking, until the viewer is emotionally drained and therefore made vulnerable to the director’s philosophy toward bigotry and violence.

American History X is also a product of superb editing. This is noticeable because each scene increases in intensity and often scenes are juxtaposed to convey the complexity of existing within an urban environment that challenges a person’s value system everyday.

In American Beauty, sound is part of the philosophical underpinnings of the film. At the very beginning of the movie, there is the sound of wooden percussion instruments. There is something almost spiritual in the way the hollow sounds click and rattle. A hypnotic essence in the clacking of the wind-chimes and percussion instruments permeates the scenes. These percussion instruments are juxtaposed exotically with the neat, suburban homes enclosed by white picket fences.

The philosophy of analyzing film cannot be separated from the very real, very tangible techniques that are used to heighten and manipulate the viewers perception of a film. In the hands of skilled directors, the techniques of mise en scene, cinematography, editing, and sound can make a difference between a mediocre film, and one that leaves an indelible memory in the mind of the viewer. A substantial memory has absorbed the techniques, unwittingly, and hopefully enough whereby he/she begins to believe the message the filmmaker was trying to convey.

Works Cited

American Beauty. Sam Mendes. Dream Works, 1999. Film.

American History X. Tony Kaye. New Line Cinema, 1998. Film.