Discuss how the films you have studied use performance to shape the spectator’s response to the idea of ‘conflict’. You must draw comparisons between the three films you have studied in your answer
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Introduction - DAC: Definition, argument, context
Performance is one of the most essential aspects of a film, and can be used by the director to shape and even manipulate the perspectives of the spectator. Conflict is absolutely essential in constructing a spectatorial response, and also to create a compelling narrative. The ideology of conflict is fundamental to the structure and themes of all three of the films I have studied. However, performance is the most important element at the disposal of a director in order to shape the spectator’s response to themes of conflict. To explore this idea, I shall use the examples of Battle of Algiers, a documentary style Italian drama that explores the conflict of war, District 9, a South African sci fi that explores the conflict of apartheid south Africa, and Whiplash, an American drama that focuses on the conflict of student teacher abuse.
PEA: Point, evidence, argument
- A sympathetic and empathetic response to the hardships of the characters
- Anger and and a sense of injustice
- Disgust and abjection
P - Another powerful way in which an ideology of conflict is constructed is through the use of performance to emphasise a sense of disgust and abjection in all three films
E - Extreme close up of Nayman’s eyes and nose emphasises his utter exhaustion, and rejects any ideology of romanticism. Nayman is not hegemonically attractive, with the MES of sweat drenching his face emphasising his eyebags, and the downy hairs, symbolic of youth. A conflict between innocence and ambition is constructed, shaping the perspective of the spectator, and aligning the audience solely with Naman. The ECU of eyes emphasises his presence and his relatability
E - ECU, Fletcher's eyes and nose, constructed with low key lighting, creates a sense of disgust by emphasising his hideous, harsh, and hegemonically unattractive features. The montage of these two shots constructs a relationship between the two characters that is abject and unpleasant to the spectator, having been signed with Nayman and his abuse throughout the narrative.
E - Low angle close up of Nayman thrashing the drums. Presented in a montage with CUS of cymbal covered in sweat, an abject and disgusting mode of address is used to shape the ideology of the spectator. The unhealthy relationship that Nayman has with playing music is here constructed through the montage of CUs of Nayman screaming which drenched in sweat. This positions the spectator in an uncomfortable and distressing mode of address, emphasising the themes of abjection that are central to this film
