Amy Sadler

How does cinematography and mise-en-scene construct meaning and provoke response in a sequence from Darren Aronofsky’s, 2010 film; Black Swan?

The choices made concerning cinematography and mise-en-scene are both a vital element within the generation of meaning for the film’s audience. Within the

narrative, a sense of mood, character state of mind and time period can all be established through the use of cinematography and mise-en-scene. This essay will analyse how meaning is generated and a response is formed in a sequence from

Darren Aronofsky’s fifth major feature film; Black Swan. Aronofsky encompasses and throws a contemporary twist on Tchaikovsky’s classic ballet ‘Swan Lake’.

The plot follows the challenging career of Nina Sayers, a ballerina who’s landed the lead role of the production, played by Natalie Portman, co-starred by Vincent Cassel,

the dance company’s artistic director; Thomas Leroy, who reflects the role of Von Rothbart, the antagonist from the original ballet performance, ‘Swan Lake’. I am

going to analyse the scene that centres on Nina’s uncontrollable transformation from good to evil, the evening prior to opening night. The focus sequence depicts Nina’s gradual transformation into her evil metamorphosis and her incapability to conceal it

any longer

Throughout the film, Nina’s darker side is revealed gradually through the use of mise-en-scene and cinematography. For example, Nina’s costume changes

dramatically as the film progresses. At the beginning of the film, Nina is extremely innocent and virtuous; therefore she is dressed in various shades of white and baby

pink to clearly portray her childlike personality to the audience. This is then contrasted greatly as her costume changes into grey colours and then finally to the

colour black to reflect her final transformation into the guile Black Swan.

In correspondence, at the beginning of the film, the camera shots vary from neutral shots; which make the audience feel comfortable due to the natural feeling it creates, and high angled shots to enhance Nina’s vulnerability. On the contrary, by the end of

the film, many canted angled shots are used as well as high angled shots to make Nina appear vulnerable again, but this time in a sinister way as the natural lighting

from the beginning of the film has now been replaced by low key lighting to achieve a sinister and creepy feel to the scenes accompanied by Aronofsky’s usual style of

filming by featuring ‘horrific images, black and white motifs, close-ups, follow shots and rapid cutting’.

Darren Aronofsky always made the audience feel comfortable and as if they had nothing to worry about before a scene that would involve “levels of paranoia and

anguish that most films would steer clear of”, this creates a sense of naivety as the

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audience wouldn’t be expecting a scary scene to come along and therefore it is more of a shock when one does.

For example, at the beginning of the focus scene, Nina is practicing her ballet, feeling at ease in the studio, as this is where she was bought up. Additionally, as her Mother is a retired ballerina, a location such as a dance studio feels ‘homey’ to Nina. As a result, Nina’s ease is reflected onto the audience. This effect is due to how she is often victimised in the film, therefore the audience empathises with her. In terms of

the micro elements; the wide shot is filmed from both Nina and the pianist’s eye-levels’, therefore the audience are able to see everything on set; consequently,

creating a feeling that nothing is out of the ordinary. Moreover, the scene itself is lit very naturally, and as the audience are able to visibly see the lights on the set they

again feel like there is nothing out of the ordinary. However, Nina is positioned in the frame, without any of the on-set lights shining on her, meaning there is no light in her

personality at this stage, and that her darker side is coming out.

Mirrors are a prop frequently used throughout the film to symbolically reflect the true state of Nina’s psyche, therefore the audience are familiar with mirrors, and thus familiarity invites tranquillity for the audience This relaxed state then makes the

audience feel more anxious and shocked whilst viewing the upcoming scenes. Here, Aronofsky uses his typical style of filming - the element of surprise - to create an

over-powering shock factor for his film’s audience.

As the room is very blue based, along with Nina’s clothing, it connotes calmness. Although, in comparison to the beginning of the film; Nina’s costume has changed dramatically, as she was previously dressed in whites and pinks that reflected her

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virtuous, child-like and innocent persona. Due to this costume change, the audience can verify that Nina’s darker side is beginning to come out.

As Nina’s metamorphic being has immersed in the form of her reflection, this is key as mirrors are an enigma code throughout the entire film since they reveal the

darkness within her. In addition to this, as the face of her reflection is revealed, the on-set lighting that was previously visible, which made the audience feel

comfortable, has vanished, therefore, so has the comfort that the audience felt. Secondly, the camera positioning is at her reflection’s eye-line, showing she is in control. Also, her eyes are completely darkened; highlighting how evil she is, and making the audience feel tense, as it is mysterious. Nina’s reflection is positioned

over her shoulder, mimicking the idea of a devil upon her shoulder, emphasising just how dangerous this inner dark side is.

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Nina’s darker side has made an appearance; and in the long shot on the previous page, Nina is surrounded by darkness making her appear small and helpless. Also, her legs are blending in with the darkness, insinuating that the darkness is taking

over. Although, this could possibly have a dual meaning in the form of a reference to her turning into a swan - as swans have black legs - this could imply that she is

becoming dangerously obsessed with her role. Furthermore, the metal work prop positioned on Nina’s right, gives off the effect of a cage, implying that Nina has been trapped, but as she is not positioned behind the bars, she has escaped, but, as she

is currently revealing her darker side at the moment, it is her dark side that has escaped. At this stage in the film, the audience feel lost; as does Nina. The lost

feeling of the audience is reflected within the complex narrative.

The idea of a manic being escaping is a typical example of classic horror, and this, accompanied by the above frame, is another example of classic horror. As the dark

shadowed figure is positioned in front of the only visible light, this may evoke two ideas: that Nina’s freedom is blocked by darkness or that the goodness of her

personality (the white swan) is being swallowed by the evil of her personality (the black swan). As Nina’s face can’t be seen, this can make the audience feel

uncomfortable and frightened, as there is nothing visible that they are familiar with.

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Along with classic horror, Darren Aronofsky also uses elements of classic film noir; shown in the still image above. The one source of light and mass of surrounding

darkness makes Nina appear small within the wide shot, and white within the darkness, presenting her as an innocent girl, lost in darkness. Similarly, the shot

appears grainy which takes the reality out of the picture; which I think represents just how lost Nina is. Also, from the light source centre stage, it almost appears to create

a barrier like, line down the middle of the stage.

Upon the side Nina is currently situated, there are many less props, indicating a simpler state of mind in which Nina is about to leave, but, in contrast, on the other

side of the stage, there are more props, with gives the idea of a busier, frantic, crazy and more obstacle-filled place. This could represent the dual personality of Nina. As this is set upon a stage, and Nina is journeying across it, this implies that it was the

ballet performance that took her to this darker, crazier place. Here, the audience begin to sympathise with Nina’s character as she appears so small, lost and child-

like due to the lighting and the extremely long shot.

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Another classic horror reference is portrayed in the close-up in the frame above, where Nina has been lit from behind, creating a shadowed side of her face, which

shows her dual personality, similar to that of Norman Bates in the parlour scene from Alfred Hitchcock’s; ‘Psycho’, whom also had reference to obtaining a dual

personality. Furthermore, the light being shone behind her, suggests that she has left behind the goodness, crossed the barrier that was analysed in the previous frame,

and entered the darkness. And, the line of darkness across her face shows the contrast between her good and evil side. Due to the lack of lighting, the audience

can recognise that there is a change within Nina’s character when compared to the first ballet studio frame.

Norman Bates (Anthony Perkins); 1960; Psycho

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As Nina walks further into the darker, crazier side of the stage her face is gradually completely blacked out (portrayed in the frame above). This shows she has

completed her journey into her evil, darker side. Additionally, as the light is clearly positioned behind her, this insinuates that she has completely left behind her good

side. This creates a sense of sorrow and fear that the audience feel for Nina as they feel saddened that the pressure has caused her to lose herself to a darker state of

mind; they can recognise this as there is barely any light within the frame compared to the beginning of the sequence, where Aronofsky made the audience feel

comfortable and at ease.

In conclusion, the cinematography and mise-en-scene used in this sequence have contributed to the viewer’s increased understanding of the gradual transformation of Nina’s personality. Additionally they have constructed numerous amounts of viewer

feelings and audience responses.

The micro elements have shown her metamorphosis from a shy nobody to a possessed superstar along with the ways in which cinematography and mise-en-

scene enable the audience to recognise when Nina is in her sane state or her descent into madness. The audience is able to experience Darren Aronofsky’s interpretation of the dark side of entertainment. Mind control, manipulation and

immorality collide with success and recognition. Dark impulses, addictions and self-destruction arise with artistic genius and creative brilliance through the use of micro

elements.

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