Symbolism in Movies

Symbols are often the primary method of layering an artistic message in a movie. The director may want to make a point without it being blatantly obvious, so they'll usually use symbols to encourage the audience to look deeper and think more about the message and its meaning. This post will explain different types of symbols and how to use them effectively.

A symbol is an object that represents something else. It can be anything as long as it somehow relates to the theme of the movie and causes a character to have a change of attitude and see a situation in a different light.

There are two types of symbols:
Universal/Natural Symbols: These are symbols that tend to be felt naturally by many people regardless of the situation. Ex. The flag of one's country can evoke feelings of pride and nationalism while circling buzzards are often a sign that someone or something is about to die.

Conditioned Symbols: Other symbols need to be assigned meanings so that a conditioned response is felt. The filmmaker needs to work much harder to ensure these symbols are experienced by the audience. Ex. The Seventh Seal and All That Jazz used the grim reaper and a seductive woman to symbolize death.

Methods to Create Symbolic Meanings
1. Repetition: Showing the symbol often will ensure that the audience takes notice of it.
2. Place Value on an Object: Value should be sentimental, not monetary.
3. Context: Take into account the symbol's relationship to other visual objects and their importance in the film's structure.
4. Visual, Aural, or Musical Emphasis: You can use audio or visual effects to put emphasis on the symbol.

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Basic Editing Principles and Procedures

Editors seldom get the credit they deserve mainly because it can be hard to appreciate their work until you try doing it yourself. They can extract numerous different types of feelings and emotions from the same footage just by cutting it differently. This post will introduce you to some of the techniques editors use and how/why they use them.

There are three units of editing: The shot, scene, and sequence. The shot is one segment of footage from a single camera (there is no cutting between other angles). The scene is made up of multiple shots from the same setting/location. Sequences are made up of multiple scenes being put back to back. It's these multiple sequences that make up the structure of the movie.

Here's a list of five things you should keep in mind when editing:

1. Selectivity: It's the editor's job to sort through all the printed takes and choose the best ones. This ensures that the best performances are used and that the flow of the scenes is as good as possible. Also take note of the camera angle, shot composition/framing, and lighting of each shot to make sure they're as good as possible.

2. Coherence, Continuity, and Rhythm: Paying attention to these three things will ensure that the end result makes sense. It often involves watching smaller things that aren't always immediately noticeable (continuity of background objects and characters positions for example).

3. Transitions: Fade ins and outs are typically used to show that a scene is starting or finishing. Dissolves between scenes are often used to show the passing of time. A J cut is when the audio of the current shot is heard while the video of the current shot is shown. An L cut is when the audio of the current shot is heard while the image of the next shot is shown. L and J cuts are most often used during conversations.

4. Rhythms, Tempos, and Time Control: Always think about how many cuts you're using and how fast they're happening. If there's an action scene you'll most likely want more, faster cuts while if you're editing a dramatic scene you'll probably want fewer, slower cuts.

5. Expansion and Compression of Time: Editors can use montages to show a series of events that led to a current situation in a much shorter period of time than it would take to show those events in their entirety. Montages are effective for scenes where a character is remembering something from their past. Jump cuts are another effective way to compress time by showing what many different characters who aren't in the same location as each other are doing.

The Rule of Six (The most important things to think about when making an edit)
From Walter Murch's In The Blink of an Eye
1. Emotion
2. Story
3. Rhythm
4. Eye-trace
5. Planarity
6. Spatial Continuity

"What audiences finally remember is not the editing, not the camerawork, not the performances, not even the story - it's how they felt." - Walter Murch

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Approaches to Film Analysis

Most people think anyone can be a film critic without knowing how much thought most of them put into their reviews. They also tend to wonder why so many films get such low ratings. It's simple, because real critics don't just watch movies, they study them. Here are some questions, suggestions, and methods for analyzing a film.

1. The Film as a Technical Achievement
- What inventive techniques were used?
- Emphasis on how the director communicates.

2. The Film as a Showcase for the Actor
- Emphasis on performance.
- What personality traits or acting skills are featured?

3. The Film as the Product of an "Auteur"
- Emphasis on the artistic vision and philosophy of the filmmaker as a creative personality.
- Special attention is paid to the story, cast, camera, lighting, editing, and score.
- How does each element in the film reflect the director's artistic vision and philosophy?

4. The Film as a Moral or Social Statement
- Emphasis on the "humanistic significance" of the film beyond its imaginative context.
- What is the message of the film?
- Is it universal or restricted to a certain time or place?

5. The Film as an Emotional/Sensual Experience
- Emphasis on producing a gut-level experience (thrills, fears, tears, laughs, etc.)
- What elements in the film contribute mostly to the emotional experience?

6. The Film as a Conventional Genre
- Emphasis on familiar "formula" films (western, horror, adventure, etc.)
- How does the film fulfill our expectations?
- What variations and innovations are introduced to satisfy our need for novelty?
- What basic beliefs, values, and myths are reflected? Are they outdated?

7. The Film as a Political Statement (Marxist Approach)
- Emphasis on the film as reflecting the power struggle (between economic classes) that lies beneath the story.
- What is the socioeconomic level of the character and how is it revealed (dialog, costume, setting, etc.)?
- How do the various social classes interact?
- What happens when a character crosses over?

8. The Film as an Insight Into the Mind (Freudian Approach)
- Emphasis on the film as a dream providing insights into the filmmaker's subconscious mind.
- What is the underlying meaning of the film beneath the surface?
- What Freudian concepts are being suggested (Oedipus complex, libido/sexual drive, super ego, etc.)?
- What other symbols do you find in the film?

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Basic Elements in Film Analysis

To truly understand a movie beyond knowing the story and if you liked it or not, you need to be able to answer a few questions. Being able to effectively analyze a movie will set you apart from the general public and possibly put you on a path to being the next Rogert Ebert. Here are some questions you should be able to answer at the end of each movie to ensure you understood it.

Theme and Filmmaker's Intention
- What is the subject or unifying central concern?
- What statement is the film making about the subject?

Objective Evaluation
- Which sections make the strongest contribution to the theme? Why?
- Which sections fail to function effectively? Why?

Subjective Evaluation
- What is your personal gut level reaction?
- What are your reasons for liking or disliking the movie?


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Story Themes

If you look past the main storyline of any movie you will always find a deeper theme that makes up its dramatic formula. It's these formulas that make up the story structure of every type of movie there is. Here's a list of common themes and how they're defined.

Intrapersonal Anguish
Dramatic Emphasis
- Self-Revelation
- Dialog Scenes
- Interior Monologues

Physical World
- Confused/Cluttered

Character Types
- Tormented by self-doubt
- Depressive/Despairing


Interpersonal Conflict
Dramatic Emphasis
- Passionate relationships
- Emotionally-charged events

Physical World
- Box-like, limited, inescapable

Character Types
- Frail and vulnerable
- Hopeful
- Most true-to-life


Comedy
Dramatic Emphasis
- Bewilderment, surprise
- Adults acting like kids

Physical World
- Unfamiliar/Intimidating
- Exaggerated

Character Types
- Innocent
- Buoyant
- Hopeful


Fairy Tale
Dramatic Emphasis
- Release from bondage
- Captors to other characters
- Discover a means of liberation

Physical World
- Confining/Restrictive
- Sinking ship, primitive island
- Object/action symbolism

Character Types
- Sharply defined "good" and "bad"
- Fairy godmother provides escape


Personal Quest
Dramatic Emphasis
- Achieving a goal

Physical World
- Imposed confinement (prison, military, etc.)

Character Types
- Searching for truth
- Achieving integrity
- Perseverance


Detective Genre
Dramatic Emphasis
- Righting a wrong
- Restoration of order

Physical World
- Urban jungle
- Corrupt officials
- Decay
- Shadowy

Character Types
- Smart, witty, ambivalent
- Code of honor
- Truth seeker
- Good guy or bad guy


Horror Genre
Dramatic Emphasis
- Raw Fear
- Terror of a monster (human or otherwise)
- Escape of the victim

Physical World
- Distorted
- Maze of corridors
- World isolated from outside help

Character Types
- Resourceful
- Battling over something


Thriller Genre
Dramatic Emphasis
- Staying alive and out of harm's way
- Life or death battle

Physical World
- Isolated from help
- Familiar people and places seem threatening

Character Types
- Innocent
- Drawn into intrigue
- Stay alive through self-reliance


Action/Adventure
Dramatic Emphasis
- Ready to die for an ideal/code/value

Physical World
- Exaggerated environment
- Physical action

Character Types
- High moral order
- Up against equally motivated antagonists

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Elements of a Genre: The Gangster Movie

Traditional gangster movies haven't been as popular since the days when The Godfather trilogy was dominating the genre (and movies as a whole), but that's not to say you couldn't write the gangster flick to top them all. Here are some things you'll need to know to get started.

Setting
The mean streets of an urban jungle or in a small town in the character's home country (often Italy).

Characters
Gangster Hero: A brutally aggressive and ambitious man who typically has a high level of cockiness and arrogance to him. He usually puts his family ahead of everything else and won't tolerate anyone who messes with any of its members.

Henchmen: There are three main types of gangster henchmen: The confession specialist (claims he can make anyone talk), the endlessly loyal one, and the traitor (who often sells out to a rival gang or the police).

Women: Like henchmen, there are three main types of women: The sexual ornaments (cheap, mindless, and greedy), the independent intelligent woman (often gets information from a rival), and the family member (mothers are respected while sisters need to be protected).

Conventions
The Rise and Fall Scenario: An upstart gang member rises to power but makes a tragic mistake that causes his downfall. Redemption is often offered but is refused due to pride.

Death in a Gutter: Often goes hand-in-hand with the rise and fall scenario. A once honorable character dies an extremely dishonorable death.

Car Chase: These certainly aren't gangster movie-exclusive but the tommy guns used in them are. A drive by with pistols may work for today's gangsters, but nothing less than a machine gun was accepted by the mafia.

Overdressed Hero: Double breasted suits and luxurious bath robes are the threads of choice for any respectable member of the mob. Dressing to impress not only shows wealth but also gives the wearer a feeling of power and respect.

Conflict
Anarchy of Gangsters vs. Social Order: Gangsters aren't satisfied with normal day jobs or following many other social norms. They often need to come up with more "creative" ways to make a living.

Cops vs. Robbers: If the gangsters aren't shooting at rival gang members, they're shooting at the cops. It's not unusual for the chief of police to have his job riding on the successful capture of the mafia leader.

Internal Conflict Within the Hero: The protagonist isn't always a bloodthirsty maniac, there are times when he'll only result to violence as a last resort or in an act of revenge. The concern of having his children think of him as a murderer can weigh heavy on a mob boss' mind and cause him to reconsider his position within the mafia.

Values Affirmed
Justice Prevails/Good Conquers Evil/Crime Doesn't Pay: The mafia boss usually has a tragic downfall because he either got greedy or in too far over his head with enemies.

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Elements of a Genre: The Western

What makes a good Western movie? Obviously you've gotta' have a good hero and a good villain but there's a little more to it than just that. The setting, character backgrounds, and the conflicts need to fit within certain parameters to make the movie truly effective. Here are all the things you'll need to know to make the next classic western.

Setting
The American West from 1865-1900. There really isn't much variation in this department

Characters
The Hero: The hero is typically a rugged individualist from the frontier. They're often courageous loners with personal codes of dignity, courage, justice, equality, and respect for women. While it is possible for them to have ties to the community, it's rare for them to have a job or family. They often focus on making the lives of others better.

The Heroine: There's typically three types of strong female protagonists: The southern belle, the struggling ranch girl, and the tough/independent tomboy. However it's uncommon for a female to be the lead role in a Western due to the time frame they take place in (when women were more dependent on men to take care of any rough stuff).

The Villain: There are two main types of western villains: The untamed and uncivilized outlaw/savage and the respectable and civilized but corrupt banker or sheriff. The villains are typically strong leaders since they usually require henchmen or accomplices to carry out their plans.

Necessary Actions: In order for a movie to truly be a western it has to have a bar room brawl, a chase on horseback, and/or a climatic shootout of some type. When was the last time you saw a western without at least one of these things in it?

Conflict: Some part of society is either threatened by internal forces of corruption and greed or by external forces of uncivilized outlaws.

Values: Justice always prevails and law and order are restored to society.

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