Boyle enforced his ideology by shocking his spectators, forcing them to watch uncomfortable and disgusting scenes with the intention of clearly presenting how these characters are separated from their reality. A scene I felt this was clearly reflected in, is when Renton goes to the public toilet after taking a suppository. Boyle’s choice of cinematography, mise-en-scene and sound is what disturbs his spectators. The scene is exaggerated, the choice of brown sludge spread on the floor and the broken doors, appear even more shocking when the camera cuts down to Reston’s feet, showing his white shoes, the enhanced reality of this disgusting toilet resembles a cartoon. Emphasising this point, Boyle put a door sign which reads “worst toilet in Scotland”, all of which playing on the dark comedy of the scene.

The scene plays out with the non diegetic sound of a playful classical song, which juxtaposes the repulsive situation. It’s classy connotations remind the audience of polite British tradition, emphasising the obvious contrast between the that and the current scene, overall having a comical effect. Ewan McGregor’s performance successfully immerses  the spectators into Renton’s world, were things that are considered disgusting are part of his everyday experience. His wide blood shot eyes and fragile physicality resemble a stray puppy, with his skinny, weak physical state highlighted through the costume choice of tight jeans. McGregor walks with his legs moving at different paces and hunched shoulders, showing the audience that there is something in his bum, as he uncomfortable hobbles to the nearest toilet. Boyle further disgusts his spectators by forcing them to watch Renton pass his suppository with the camera below him, shocking the audience with this unsettling angel, as we feel amongst the brown sludge on the floor. The uncomfortable close up shots of Reston’s sweaty, pale face, creating a sense of intimacy, with the small cubical having a suffocating feeling. 

We then see him desperately fishing the drugs out the toilet which represents the grotesque, degrading and dehumanising effects of heroine addiction. As Renton unexpectedly dives into the toilet, and emerges into a tranquil, ocean-like world, where he joyfully swims around to retrieve the drugs. The surreal blue water, further immerses the audience into this dream-like world, inviting us to explore the effects of drugs in a physical and visual sense. The scene is a metaphor for the addicts way of life, because even though the drug addict encounters vile circumstances, they are willing to endure the worst imaginable filth to get high.

Within the ending scene of No Country For Old Men, the Chohen brother’s message of fate and inevitable doom is addressed and displayed. The scene starts with a wide far shot of Chigur about to continue with the next step in journey, however, the shot type creates a distance between the audience and chigur. This subtly suggest that his journey is ending as the camera Is starting to detach the audience from this character. Additionally, the choice of a wide shot is contrast to the previous close up shots we have been seeing of Chigur, the change is abrupt and indicative of a change of mood surrounding this character. It can be alternatively argued that the distance created by a wide shot was purposed to illustrate Chigurs hostile nature. The shot is subsequent to a murder he executed, and this may be the Cohen brother’s way of suggesting the caution and distance required for character, painting a more hostile picture rather than from suggesting his end.

The colour grading and lighting within the scene helps convey a similar message of inevitable doom and end to the old characters of the film. Initially, a yellow hue and warm bright lighting from a sunset can be detected within the scene. The warm colours suggest optimism and comfort surrounding the suburban setting. On closer inspection however, the grading is heavy, flooding the shadows and the highlights of the scene. This creates a vintage hazy aesthetic around the scene where shots resemble the appearance of an old memory. This may be indicative of that Chigurh is similarly ageing into an old memory, soon to fit into a tale where there is a lesson to be learnt. The fact that there is a sunset when Chigurh goes into this sequence further illustrates this end soon to be as the sun goes down. Spectatorship plays an interesting part within this scene. An older generation may feel the vintage mood, relating with their own vision of a suburban setting from their own past and so understand that Chigurh’s character is aged. However, a younger audience my detect compassion within the warm tones of the scene, later within the scene Chigurh talks to innocent children calmly, without violence and doesn’t kill them like most characters he’s interacted with. A young audience who’s going through a phase of growth within their mental state may hence have a more positive outlook of similar growth with Chigurh’s character. 

The Cohen brother’s attempt at illustrating their pessimistic view of fate is significantly portrayed within this scene. As Chigurh drives, the camera is still, conveying calmness and an antiinvasive manner about the character. Subsequent to this, there is a shot of a green traffic light, a lawful mood is created where the traffic light is government property, representing the law. With a green light, it’s almost as if the icon of the law is telling Chigurh that he is good. In this light, overall a lawful picture is painting. Abruptly, in contrast from this, Chigurh gets into an accident. The accident is shown with a smash cut with a sudden increase in loud volume and shown from an angle mimicking a third-party pedestrian’s view. The smash cut and increased volume makes the event shocking and abrupt. The pedestrian pov shot further illustrates how unexpected it was as the peace of pedestrian activity often juxtaposes against violence and calamity. The abrupt accident suggests that whilst Chigurh was being lawful, justice and fairness may not always follow. Even in what might seem as the lawful setting of the suburbs. The abrupt nature of accident, creates a sense of shock, mirroring the response of older generations with ideals juxtaposing the film maker’s own message.  In this way the Cohen brothers can illustrate their pessimistic view on the topic of deteriorating lawfulness in America as the country grows, effective through its dramatic manner.

To conclude, the Cohen Brother’s use a variety of cinematic tools such as colour grading in mise-en-scene and lighting and various shots in cinematography to strongly convey their messages of a dying place in America for old characters and justice through impactful trauma and connotations.  

 

All through the film Glazer established an isolated atmosphere for the Female and when she leaves the safety of her ‘hunting ground’, the city, her isolation is heightened by wide shots of the Scottish landscape. As she runs from the Bad Man, the camera continues to zoom out from the people and show a larger landscape desolate of human life, highlighting the unforgiving nature of the water or the cold of the mountains in the background. A scene that furthers the detached aesthetic is where the Female is driving along a single stretch of road towards a fog, the isolation is represented in a multitude of ways, including the lack of other human presence as well as the single van on a single road with little to no other discernible locations for human life in the background. The Female is shown walking into the fog, which leaves the viewer with uneasy feeling as she disappears completely from view. Her vulnerability as a character is shown by her lack of her fur coat and her reduced confidence. Similarly, her movements outside of the van have shifted from a confident prowl to a faster, more jittery walk, which allows the audience to start to see the possible development of human emotion in the form of fear and confusion. As well as vulnerability the viewer can also discern a naivety to the deeper emotions that are deep routed in human society, which Glazer wanted to draw the audience’s attention to throughout the film, as it was viewed earlier on in the film, however her understanding of each emotion has not fully developed and fear remains the most heightened due to her impending capture and her attack later on in the woods. The Females’ understanding of emotion continues to grow and as this happens the audience gain a larger feeling of sympathy for the Female. It could be argued that Glazer used the Females confusion and fear during the fog scene to manipulate the viewers emotions from there on out, as a way of exposing the basis of humans as a society and how it can be controlled in a way that makes everyone vulnerable and more easily targeted.  

The mise en scene is the first indicator of the possible danger that the shopkeeper could be in and adds to the apprehension. There is a row of nooses hung above his head, framing him as a form of prey. We, as the viewer, know the danger that he is in from Anton’s previous actions. He starts chewing on some sweets which emphasises his comfortable state and the shopkeeper’s fear. When he then places the empty packet down, the tension heightens. The uncomfortable unveiling of the scrunched-up plastic and the unpleasant sound make the viewer feels uneasy and as if he has finished one form of destruction and is onto another. The silence also reminds us of the lack of cars or people around and therefore the isolated situation they are in; this is the perfect scene for Anton to add another murder. The almost static position of the camera while very slowly moving towards the characters reflects the tension the shopkeeper feels, like he's being suffocated by Anton’s presence. 

When Anton proposes the coin toss, we are then introduced to the idea of fate versus chance. He decides to boil down this man’s whole life and worth down to a coin toss – without even his permission. This reflects Anton’s situation too. The white cowboy hats in the back of the mise en scene are a haunting reminder of the fate that was expected of this western film. The good guy was meant to win, and the bad guy (Anton) was meant to lose. The larger implications being that old, outdated western ideals were expected to be upheld. However, the coin toss shows how both the shopkeeper and Anton beat the odds as he is the last one standing at the end of the film rather than the ‘good guys’. The Coen brothers are highlighting the fragility of life through the coin toss but also that society does not have to be set in the form of fate, but rather that less traditional views (represented by Anton) are overtaking the old. 

However, he is so detached from romanticised ideas of destiny and fate that he cannot grasp the concept of love. When the man mentions his wife Anton visibly chokes like his body rejects the idea. He then says ‘that’s the way it is’ in reference to the shopkeeper marrying into the business. He sees the marriage as transactional and this just paints his character more as a cold-hearted villain. This is a criticism of the new ideals creeping into America and how they are disconnected. 

Ultimately, this scene highlights the menacing nature of Anton while also emphasising the duality of luck. This coin toss has saved the man’s life, but the same thing later will be cause for someone’s death. The Coen Brothers portray the fragility and uncertainty of life through this scene by showing that nothing is ever sealed from how the storyline deviates from a typical Western narrative. 

The brutal natural image of Scotland’s mountainous countryside references the divide between city life and traditional landscapes. The world has moved into metropolitan hubs, humans are no longer built for these unprotected plains. Boyle is picking at the sheltered life that most people experience as a result of capitalism - even those at the bottom of the food chain, criminals who live on the streets, can no longer cope in these ancient settings. The shot of the four guys looking out onto the mountain provides an incredibly significant commentary on masculinity. For generations, men would go out to hunt or fight over territory on these hills, whilst their wives tend to the home and children. The mountain has a deep rooted connection with the strength of man, the bleak hills themselves connote brawn and power, words that can frequently be found in the gender stereotypes of men. However, these shivering, skinny men do not bring brawn or power to mind. This does not make them any less man, but the comparison between traditional masculinity and modern masculinity (irrespective of the drugs) gives a neat visual story of evolution, with comical undertones in, what is mostly, a depressing film about capitalism's exploitative constitution. 

As the scene continues, they venture out into the grass, past a bright red circle with ‘STOP’ written underneath. This unsubtle piece of mise-en-scene giving an indication of what’s to come. Tommy marches off towards the horizon, continuing to keep up his good natured image and, in some ways, demonstrating man has not quite lost his affinity for nature. The others remain on a bridge, one of the few examples of man made structures there, illustrating the innate comfort they receive from anything remotely city-like. Gradually, the three boys position themselves here - Sick Boy taking up his signature, half assed power stance with his body slightly blocking Spud who remains silent for most of the scene; Renton is sitting crouched on the edge, very obviously demonstrating that he would rather be anywhere else. 

Up until this moment, the camera has been mostly unobtrusive, staying at a distance and keeping the boys’ full bodies in the shot. This makes the sudden close up on Renton’s face quite shocking, Boyle keeps the ‘great outdoors’ in two thirds of the shot with Renton’s head filling the right hand corner. He takes a swig from his vodka bottle; further highlighting how out of place he is. His earring jumps out in the foreground, with the light hitting it perfectly - continuing to bring the industrial and man-made into nature. It jumps back to the original distance between the camera and boys, cutting between the three and Tommy and creating an us and them theme. 

The sudden outburst from Renton almost comes out of nowhere - no real tension has been built, he just seemed widely disinterested in anything Tommy had to say until now. His speech is carefully written, though the delivery would indicate otherwise, and acts as an overt dismissal of all the capitalist propaganda that gets pumped into the western world. For the proletarians of society, life is far from idyllic; there is no support for those struggling and often people were blamed for how dire their lives are. The meritocracy, specifically the English meritocracy, believes that people are born into their social standing, therefore offering no aid to those not fortunate enough to be part of old money families. It’s a deep rooted issue that has been built into the foundations of society and ‘all the fresh air in the world won’t make any fucking difference’. 

In Sebastian Shippers portrayal of a bank robbery, the single shot film captures the journey through real time, exploring the groups relationship over the two hours twenty minutes. this scene acts as a break for the actors, the intense verisimilitude that is carried throughout the whole film relaxes. 

One of the most prominent techniques in this scene is the absence of diegetic sound. As the group walk into the nightclub where the regular club music is blaring, it is quickly replaced by the Nils Franz soundtrack. The song itself is euphoric and as they are cast in the deep blue lighting, the scene becomes dreamlike. As the intense club music abruptly ends, there is a moment of silence, followed by the major comforting arpeggios.  Its bittersweet, broken chord motifs directly contrast the typical club music. Its subtle and slow, with an earie extended minor chord on violin. The music also has this nostalgic element, the similarity between this piece and the music during the roof scene, suggests a return of that fleeting moment of happiness and sense of community between the group. There is a huge amount of emotion constructed in the scene which the soundtrack helps to emphasize, it allows the actors to fully loose themselves and gives more strength to the sense of relief shared by the characters and actors.

The performance throughout this scene is so free, there is an almost grotesque element to it. The characters are aggressive, jumping over each other, spitting beer, kissing, boxer and Blinker even take of their clothes. There is no modesty, no care for their actions. They are ecstatic with their relief and elation. Through the deep blue lighting there is a large amount of shadow, it restricts the full view of the characters faces and distorts their appearances. However, through the theatrical and striking actions of the group, the emotion is clear, the strobe light enhancing the excitement. Camera movements also emphasise this, throughout the whole film the camera is handheld, reflecting the pace of the scene, this one being no exception. As it weaves its way through the club and around the group, it consistently returns back to Victoria like an elastic band, a reminder that she is at the forefront of the film. She is at her happiest, finally having found a group where she belongs and is welcomed.

 This scene not only reflects the highest point of the film for the group but ultimately is the embodiment of what Victoria has wanted since moving to Berlin. Essentially, the film represents the dangers of loneliness and the desire to feel wanted. Victoria is alone in Berlin, having moved there after being kicked out of her music conservatoire. This scene cyclical structure is a key reminder of this. At the opening she is alone and desperate in the same club, the overwhelming mese- en-scene emphasising her freedom but unhappiness. She is so desperate for community that she ends up in the midst of a crime scene, involving herself in a bank robbery. As she returns back to the club, she is a different person. The repetition of the overwhelming strobe lighting enhancing her changed behaviour, in each club visits she appears free and unconstrained, but now she is evidently happy.

The little runts are sat around a shack in a seating position that reflects an identity of a gang. Moreover, we see the boys are holding tools but as weapons such as screw drivers as they want to appear dangerous. City of god is set from the 1960’s through to the 1980’s, this scene is set during the 1970-80’s where there is numerous gangs and petty criminals within the Favela’s, the little runts present how children are influenced by this lifestyle from an early age as their group is not identified as a friendship group but a gang. However, gangs are separated by power. When Lil Ze’s gang are confronting the Little Runts the close ups on the contrasting costumes exposes this power difference, Lil Ze and his gang wear bright colours and chains reflecting his gangs superiority juxtaposed to Little runts who are dressed in tight and torn clothes emphasizing the deprivation experienced unless you can obtain power within the favela’s.  Furthermore, any shot of the runts is displayed through low angles which signifies their weakness and inferiority to Lil Ze and his gang, these low angles expressing weakness reminds the audience behind the curtains the little runts are still innocent children.

Two kids become caught and cornered by Lil Ze as he offers an ultimatum either be shot I the hand or foot as a punishment. A close up shot of Lil Ze is used whilst he offers the choice, emphasises his words to show the audience how he has become the shot caller of the streets revealing the severity of the predicament the kids have found themselves in as the favela’s have a hierarchy within them. There is an over the shoulder shot of both children with the gun aimed at them this contributes to making as a by-stander within the movie as we feel a sense of helplessness as we are unable to defend the children. Despite asking to be shot in the hand Lil Ze shoots both in the foot inferring the inequality within the situation and how these children are trapped in endless cycle of being shunned and let down by society.  

Lil Ze turns to Steak n Fries to decide and murder one of the children this would be his initiation into the gang.  There is a POV shot from Steak n Fries to show the children crying in agony and fear while holding the gun anxiously a diegetic sound of the children crying can be heard in the background. The juxtaposition of the only two diegetic sounds heard; the children crying and him being encouraged to shoot one them shows the devastating reality of this life creating an emotional response from the audience. The behind the shoulder shot when Steak n Fries is deliberating to a panning shot where Steak n fries turns the gun to other child followed by a close shot of him closing his eyes displays his unwillingness and child innocence as he has been forced into this situation by society but clearly regrets its.  The scene ends as Lil Ze says ‘your one of us now’ showing his initiation was successful, the lingering shot of Steak n Fries with an out of focus dead child behind him relates to the severity of the situation but it is established to the audience this was Steak n Fries inevitable future as he cannot turn back now. 

Steak n Fries is a small character, but this scene is one of the most important in the movie as Steak n Fries is the representation of the inevitable future most young boys born in the favela will experience. The scene is exposure of how society fails young boys as they become trapped by a cycle of gangs and violence. 

Kim Novak’s performance is very effective in the film as she is able to play both roles of women who represent the binary opposite of each other; Madeline is presented as the unattainable ideal woman who seems to always be surrounded with a certain glow and is based on the construction of a woman who’s not real which is presented in this scene as she appears as a ghost. Whereas Judy represents realism as her characters’ reveal at the end helps reveal the truth to Scotty and the viewer as well. Initially Judy fights Scotty’s attempts to mold her into Madeline’s image but consciously starts to surrender as she is desperate for Scotty’s love and so, Judy surrenders to the male gaze as Scotty literally constructs her into the ideal objectified woman who fits a man’s lustful desires. The theme of unequal power between the genders is presented in this scene when we compare her character to Midge who is shown to also want Scotty’s love and, in a desperate attempt she tries to take control of the male gaze by painting her face onto Carlotta’s body therefore challenging the patriarchy. However, this provides the opposite reaction from Scotty as perhaps he felt like he lost the power to achieve this himself and so rejected it and went on to continue living an illusion with Judy by transforming her into Madeline.

This scene is very important as it is the moment Judy decides to surrender to this illusion of the past and allows herself to be a part of Scotty’s necrophilic fantasy. Hitchcock presents this in a very morbid manner through the use of the mise-en-scene, the overexposed green light from the hotel sign illuminates onto Judy as she comes out of the toilet completely transformed and creates a fog around her which presents the uncanny, in addition to her costume choice of a grey suit she is literally presented as a ghost coming back to life. There’s a sense of necrophilia created here as Scotty has dressed and made Judy act in the same manner as Madeline, this is further intensified as the score is raised which intensifies the reality of Scotty being able to achieve this.

In a way Scotty’s obsession is mirrored from Hitchcock’s auteur signature and frequent casting of blonde women in his films and so Hitchcock achieves his fantasy through Scotty’s obsession to transform Judy into Madeline. Which can vaguely reflect Hitchcocks power over his actors in the classical Hollywood period, especially the women as he saw them as objects of desire.

However for Scotty this is presented as necrophilia as he seems to want a sexual relationship with her even though he knows this is not reality. As Hitchcock uses cinematography in order to change the mise-en-scene around the two characters by rotating the camera and so changing the location, we enter Scotty’s vision of imagining him and Madeline back in the stable but his refusal to accept the unrealistic nature of his acts creates a morbid sense as he is desperate to hold on to the past and, so he goes back to kissing Judy. This creates a theme of fantasy by presenting Scotty to be lost in the world of illusion.

There’s also a narrative structure of predator vs prey in the film in which we see throughout the first half of the film aspects of voyeurism as Scotty follows Madeline, this is done in a predatory manner as he tracks down her every movement. This is presented in the cinematography as the camera tracks down her movement but always from a distance, therefore this allows the viewer to be a part of the action and watch her from Scotty’s point of view.

He then completes his hunt in this scene when he is able to transform Judy into Madeline for his own personal pleasure to bring back the past. However, Judy is seen to be very submissive at the end as she is also driven by her personal agenda of wanting his love and so she is desperately willing to loose herself completely into the power of the man.