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In the film “Parasite" directed by Bong Joon Ho there is major commentary being made about the capitalistic societies that people are experiencing every day. When looking at the use of food and lighting throughout this film you are able to see how Bong Joon Ho is communicating the class disparities amongst the families and how they reflect how real societies use food as a sign of wealth. Specifically talking about the scene once the Park Family leave their home. Through the mis-en-scene in this scene you are able to see the peak of impersonation that the Kim family has been leading up to. After the Park Family have left their home the Kim Family begins to treat it like it is theirs, over indulging in expensive foods and alcohol, exploring luxurious amenities, and lounging comfortably in spaces far removed from their cramped semi-basement apartment. The Kim Family, for a second, embodied the image of wealth even though that is far from their truth.

In this scene the use of mis-en-scene helps highlight the illusion and fragility of social mobility for the Kim Family. Throughout the film when at the Park’s home the lights are always bright and almost giving off this purity to it. But as the Kim Family grew more comfortable in the home it grew dimmer. I would like to also mention it is because of a thunderstorm which always plays a role to disillusion this family. But the use of these elements allow you to think like the family is out of place of sorts. And because they grew comfortable in this home we as an audience because we have identified with them have grown comfortable too but we know we don’t belong here. That is where the thunder storm comes in and disillusions us to say, “hey you belong here” because that causes the Park family to come back home, sending the Kim’s into a frantic state.

The use of food in this scene also highlights this class disparity that is being communicated. The Kim Family is overindulging in all of these expensive foods and alcohol. Ki-taek pours a little of the whiskey into everyone’s glass but Ki-woo picks up a different bottle and says “ Dad! Let me add another to the mix!” Showing that now that they have their hands on things they could only dream about they must get as much of it as possible. This mindset is common amongst lower class people because of the scarcity of resources. And even though they are trying to pose as a rich family their poor tendencies still shine through.

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In the film “US” directed by Jordan Peele it is able to have a conversation that touches on access to resources, more like the lack there of, and how white supremacy can be seen within the cracks of some of the characters. Specifically talking about the scene, “There’s a family in our drive way,” that sets up the dynamic between the Tethered and the Wilsons. In this scene you see how the Wilson family first meet the Tethered with Jason stating “There’s a family in our drive way.” Greg then goes out to speak to them and seeing how they are unresponsive to his initial approach he then came at them more hostile which is what caused the family to finally approach and eventually break into the house. This scene uses some of the filmic elements to help convey the central conversations I mentioned earlier.

In this scene the way sound is used helps not only progress it along but also makes reference to previous scenes. Red, Adelaide’s tether, as she approaches the house is heard whistling the same tune that younger Adelaide was whistling in the beginning of the movie. This was Red’s supposed call back to Adelaide to almost clue her in on who was coming. The sound in this scene does not make a direct comment on the lack of resources available but it plays a role in how Adelaide is set up to have a conversation about her past and hear how they are essentially the same person. The use of music throughout the whole scene with its different swells in the choral music, as well as, the sound when Red removes her hand from the scissors to tell the family to be seated helps create suspense and a heaviness that is too come.

The mis-en-scene in this scene is what really encapsulates the very commentary the movie was made to make. There are varying aspects that can be dissected from this scene but there are a couple, specifically about Gerg, that help start or build this conversation surrounding white supremacy and resources. In the beginning of the scene when Gerg goes to initial talk with the Tethered he not only uses this white suburban dad voice but he is also in this Howard, the historically black university, sweater. The way he is speaking and his sweater helps establish that he is essentially conforming to the ideal of what White America has deemed as acceptable. Like he has had the chance to get a higher education and make it into a nice socioeconomic standing and the only way he learned to maneuver through those spaces was by conforming and changing himself to fit those molds. So when approached throughout this film with situations, like a “break in”, he tries to use those tactics he has seen and learned like throwing money at the Tethered to deal but ultimately they never work.

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“Hey boy. What you doing with my mama’s car?” A curiously naked Bonnie says out her window to Clyde as he is in the act of checking out her mother’s car to steal. These first words build on the narrative the director Arthur Penn was creative during the opening scene of his film Bonnie and Clyde. The film opens with a fade from information about Clyde Barrow into the puckering pink lips of Bonnie Parker. Before these words are even spoken the scene follows a bored and naked Bonnie as she moves throughout her room. This scene stood out to me because there are different things being said about her feeling caged and her almost youthful rebellion. The film follows our two star crossed lovers Bonnie and Clyde as they go through the Great Depression Era committing countless daring robberies. Both characters were seeking escape from boredom and constraint which ultimately lead to their naive violent fate. This opening scene does a lot in terms of speaking to the constraint and antsiness that Bonnie feels because of the cuts that take place as Bonnie is moving. She is not staying still and when she does for the first time she has her hands on the bed rails and her head sitting between the bars. This is reflecting on the trapped-ness Bonnie may have felt during that time, especially with circumstances at hand. I would also like to recognize the mise-en-scene in the scene after Bonnie initially turns away from the mirror after checking herself out. You can actively see her swaying and her eyes moving around trying to find something to do to cure this boredom. Another point I want to make is that she is an adult still with dolls in her room. This props playing into the youthful rebellion of Bonnie because she’s looking for that rush and adventure because she has nothing else to do. Going back to her opening words and use of the word boy to continue to undermine but also describe the feelings she is having towards Bonnie and her external view of herself.

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In this film, Mulholland Drive, by David Lynch it tetters between a lot of parallels, dream and reality, identity and performance, and so many others. The specific scene I am going to focus on is the espresso scene. Where the film executive Luigi Castigliane has an almost volcanic reaction to drinking a bad espresso. The scene may not seem like much but the incorporation of all the filmic elements at work allows it to make a meta commentary on the Hollywood power structures and the illusions of control within the industry.

The mise-en-scene is heavily relied on in this scene. The way the conference room is set up, it being a cramped dimly lit space creates a contrast with the pristine, glossy almost espresso cup that was made the main focal point of the scene. What I really thought this scene was communicating was that the cup represented the egos and the fragile hierarchy of dominance that looms over any Hollywood decision. The situation itself seems so abrupt and almost bizarre because this put together figure is spitting out, almost disgustingly, the espresso he’s drinking. It is trying to reflect the absurdity of how small moments, like tasting perhaps nasty espresso, might carry a ton of emotional decision making weight.

The cinematography in this scene helps reinforce the tension. Using close ups and cut shots of the actors’ faces and the espresso cup, makes the tasting somewhat suspenseful. And once the taste of the espresso happens then cutting from all the reactions of either wide eyes, terrified faces, and motionless helps emphasize this fragile, egg shell hierarchy. Finally the sound in this scene plays a big role as well because the room is nearly silent besides a silent hum in the air; everyone is waiting for this executive to take a sip. Once again feeling the power dynamic in the room which is again emphasized once he sips out the coffee. The forceful and loud rejection of this coffee is only important because this man is. And with everyone in the room knowing this, him having such a volatile or exaggerated reaction was an appearance of domination. Using the previous silence and anticipation and ultimately his reaction to embarrass and humiliate the people who out sourced the coffee.

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Alfred Hitchcock’s “Rear Window” 1954 film was one filled with suspense but not in the most conventional way. The film unfolds almost entirely from L.B. Jeffries, our main character, point of view. A photograph confined to his apartment because of his broken leg has time on his hands to do nothing but observe his neighbors. Though the observation starts off as something harmless at first, used just to pass time and judgement, turned into more once he started playing detective and got involved with Lars Thorwald, the antagonist of our film. The one thing that makes this film unique is Hitchcock’s depiction of voyeurism throughout. Having to experience life specifically from the perspective of Jeff makes the audience in a sense feel just as trapped as he was. One sequence that stood out while watching this film was everything that occurred after Lisa, Jeffries' girlfriend, was caught in Thorwald’s apartment.The abrupt jump cuts between Lisa, the officers, and close-ups of an anxious Jeffries showed allowed us in that moment especially to feel like we were Jeffries with telephoto watching the scene take place. It reminded us that our gaze is narrow and fragmented but because of that we had to experience all the disruptiveness that comes with it. Hitchcock is making a comment about how the act of watching or voyeurism is inherently incomplete and unruly. A specific point in this sequence I want to mention is after Lisa makes the, not so subtle, point at the wedding ring on her finger. At this point Hitchcock is using an iris shot since we are looking through Jeff’s camera to further see what is happening inside the apartment. But after a couple of taps of her finger on the ring and Jeffries understanding of what that meant the camera pans upward towards a confused Thorwald. He takes a second to think then slowly raises his gaze looking through his brows directly into Jeffries camera with a look of menacing realization, he’s been found out. This scene spoke to me when thinking about what was being said about voyeurism because Jeffries reaction, like anyone’s reaction would be, was basically “Oh shit.” There’s just something about the meaning behind this fourth wall being broken because not only is Jeffries finally acknowledged by his subject of watching but the audience has also been acknowledged too. We have been in this wheelchair with Jeff since the movie began making him our eyes of this whole film and Thorwald’s gaze to me feels almost like “I’ve got you now because I know you’ve been watching.”