Cinematography - Miss Miller

The focus of this blog entry is the cinematography around the 2010 film Shutter Island, starring Leonardo DiCaprio as Teddy Daniels and Mark Ruffalo as his partner Chuck Aule. It is important to identify the definition of cinematography; the techniques used in films using various camera angles and photographical effects to evoke certain emotions and moods, creating a specific atmosphere within in the audience. This can be through done through angles, position and movements of cameras within the film. Cinematography can often identify the genre of film shown, for example, eye level shots are common in romance films so the audience can almost take on the role of the characters. To explore the cinematography in this film, I have chosen this specific clip (www.youtube.com/watch?v=lmmJsgfNSIM) as it clip introduces us to the main characters and their surroundings, whilst diving into Teddy’s flashbacks giving some background to the character himself. It also shows the audience some of the people who work at the institution and looks into the extravagant office area of Dr Cawley, showing cinematography can be used in scenes to influence the audience without direct action. As a thriller, this film has a haunting storyline of a disappearance at a mental institution on an island separated from the outside world, which is where we meet the main characters.

At the beginning of this clip (0:01), a two shot camera position is used, drawing audience attention to the main characters in the film. This shot has a dark background which reflects the story line of the film; the dark colours and rain in the scene foreshadow the events to come.  This also signifies mystery which is conventional to the thriller genre and their jobs as detectives which is outlined by the clothes they wear in the shot. The puzzled look on their faces shows the audience that they do not trust the situation or what is being told to them, creating doubt and suspense as the audience are unaware of why they are puzzled. Are they being tricked? Is there a hidden storyline? Furthermore, Teddy is standing in the foreground of the shot with Chuck closely behind him; insinuating that Teddy is dominant, the boss, within this working partnership. On the other hand, this could suggest to the audience that Chuck takes a step back on purpose, letting Teddy take control of the situation.

As you progress into the scene, the characters arrive in Dr Cawley’s office. To set the scene there is some music playing in the background and this is clearly recognised by Teddy. This encourages a flashback of a darker time in his life; a panning movement of war prisoners (0:53). This movement conveys to the audience that he has some pervious involvement in war and is still haunted by it. This shot shows that these prisoners are cold and helpless, evoking sympathy and sadness from the audience; the barbed wire demonstrates that they are captured and treated with disrespect like caged animals. The camera movement pans sideways along the barbed wire, to show that there are many in this horrible condition, showing only hands at first before faces; this connotes that their faces are not important, they are one of many in this situation.

In the office, Teddy and Chuck are introduced to the main psychiatrist in the institution, Dr Jeremiah Naehring (1:07-18). The first glimpse the audience gets is of the back of the chair, which makes them think, why is this person hidden, or, what do they have to hide? This character is clearly portrayed to the audience as influential and intimidating as it takes a while to reveal his identity through the use of a tracking shot and steadicam, therefore creating a flowing shot without breaking the 180 degree rule. The audience see a gradual introduction of his face, therefore suggesting them to question him and his role within the institution. Despite eventually seeing his face, throughout the conversation you only see him side on, this implies that he is a secretive man and could potentially deceive others. Is this person to be trusted?

Furthermore, whilst having a conversation with the psychiatrist, Teddy experiences some more flashbacks (2:08-14). It is here where the audience sees his flashbacks of an office, where the audience is immediately drawn to a picture of Hitler in the background. This suggests that they are in a German general’s office, an establishing shot, which, depending on the audiences’ knowledge, can provoke certain emotion or tension. This is also an extreme longshot, which enables the audience to take in the frame as a whole, especially as it is positioned at eye level if the person was to stand at the edge of the room. Paperwork starts to fall from the ceiling, the only thing in the room that moves. Without any people in the room, it builds suspense for the audience as they are not sure as to why they are seeing this shot or what the paperwork is; producing questions such as, how does this relate to Teddy? Is he at this place? Why is he seeing this flashback? This suddenly cuts back to Teddy’s face, showing the audience that he is haunted by war, maybe making the audience feel sorry for him.

Finally, during Teddy’s flashbacks the audience are presented with a gory scene of his days in the war (3:54-57). He approaches the German general who lies on the floor with a serious face wound, struggling in pain which immediately produces a surprise or shock to the audience because the man is severely injured. The camera holds on a point of view shot, where the audience take on the role of the general and are looking up at Teddy. This insinuates that he is the superior, the person in control of the situation. After a quick shot of an emotionless face from Teddy, the camera frame then cuts to show the general striving to reach a gun. This is presented through a shallow focus and a low angle shot. The audience’s attention is drawn to the gun in the foreground, as the background blurs. This provokes the wonder of whether the general is reaching to the gun to kill Teddy or to end his own pain; either way produces an emotional response in this scenario. This camera position purposefully creates a connection between this gun and the audience, building suspense as to what is going to happen next and questioning the actions of Teddy.

In conclusion, cinematography in this clip of Shutter Island demonstrates how suspense, shock and tension can be built up for audiences even in scenes without any major action or scary activity and this clip has inspired me to do the same if I was to make my own opening thriller clip. I believe it is important to sometimes create reactions in audiences in smaller, less graphic scenes. Camera positions and movements can make the audience feel intimidated, scared, sympathetic or puzzled with the scene and if they were presented in other ways, they may produce different reactions. Cinematography techniques and other elements like soundtracks are used to produce a certain reaction in the audience and create a specific atmosphere when watching the film.