Both these
scenes represent the ‘bride’ in different ways via: sound, camera and Mise En
Scene.
In the
first, intense burial scene it is immediately recognised via the low to high
camera shot directed at ‘Budd’. This is aspecific camera shot which presents
him as superior and dominant in comparison to the ‘Bride’ where she is as
a result is presented as the victim whom has a lower status at this moment in
time. The non-diegetic angelic music sets the ‘cowboy-like’ theme hinting a
possible violent scene is approaching. Then suddenly, when the ‘Bride’ is
disturbingly viciously placed into the coffin the music originally played is
dropped alongside the lighting. Where, the unpredictable, discomforting noises
displayed by the ‘Bride’ are synchronised, with the diegetic pouring of the
gravel and mud coincided to the aggressive nail drilling. Additionally it is
signified through the plight of her heartbeat . As a result, a claustrophobic
environment is presented. Her feelings are amplified by the black screen. The
continuous groaning and screaming examines her desperation and vulnerability.
The torch used as the light source emphasis her minimal chances of escape. The
extreme close up camera shots of her drenched eyes represents her fear and
innocence reflected from her experienc . This drained mood continues to
worsen via the ambient car noise; which vanishes with her hope.
In juxtaposition, the other scene presents a more heroic natured scene. The location is firstly recognised by the crane shot. This is then followed by a wide panning shot of the coffin where the ‘Bride’ lays. This implies that the ‘Brides’ whole body is shown presenting a bigger view of her which, contrasts with the close ups from the other scene. The lighting also differs. This time round, the golden coloured light contrasts from the black and white. This presents hope for the ‘Bride’ and the audience. The camera and lighting in this scene is more comforting and predictable creating a relaxed environment in contrast to the claustrophobic one. The non-diegetic music is an exaggerated, uplifting tune which, becomes synchronous with the ‘Brides’ strategic movement. The music also: foreshadows the escape, signifies her composure and presents a heroic character. The ‘Bride’ is more in control of her breathing which contrast significantly to the previous scene. Once the ‘Bride’ escapes, the over dramatic punch through the ground brings back a sense of reality via the silence. The clenched fist becomes the central point of the wide shot, presenting triumph and passion.
In juxtaposition, the other scene presents a more heroic natured scene. The location is firstly recognised by the crane shot. This is then followed by a wide panning shot of the coffin where the ‘Bride’ lays. This implies that the ‘Brides’ whole body is shown presenting a bigger view of her which, contrasts with the close ups from the other scene. The lighting also differs. This time round, the golden coloured light contrasts from the black and white. This presents hope for the ‘Bride’ and the audience. The camera and lighting in this scene is more comforting and predictable creating a relaxed environment in contrast to the claustrophobic one. The non-diegetic music is an exaggerated, uplifting tune which, becomes synchronous with the ‘Brides’ strategic movement. The music also: foreshadows the escape, signifies her composure and presents a heroic character. The ‘Bride’ is more in control of her breathing which contrast significantly to the previous scene. Once the ‘Bride’ escapes, the over dramatic punch through the ground brings back a sense of reality via the silence. The clenched fist becomes the central point of the wide shot, presenting triumph and passion.
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