4:3 – Otis Morley’s A-Level Film Studies Blog

Winter’s Bone Close-Up (“Squirrel Dream” Sequence)

Overview

The “squirrel dream” sequence of Winter’s Bone (Debra Granik, 2010) is a surreal and symbolic representation of the film’s central character, Ree. The sequence is a stark departure from the rest of the film, utilising unorthodox techniques such as black and white, grainy footage filmed with a cheap handheld camera, This serves to create a dreamscape-like atmosphere, acting as an extended metaphor for Ree, alongside the patriarchal oppression she faces over the course of the film.

Key Elements, Context, and Representation

As previously mentioned, the sequence is a striking departure from the aesthetic of the rest of the film. Granik utilises unorthodox techniques such as black and white, grainy footage filmed with a cheap handheld camera. The sequence is also shot with a vignette, 4:3 aspect ratio, furthering contributing to the surreal nature of the sequence.

*The squirrel, representing the oppressed women, is centrally framed in the dreamscape black and white 4:3 vignette*

The non-diegetic composed score, which rises in the mix, builds a pensive and ominous atmosphere, further emphasising the surreal and dreamlike quality of the sequence. The squirrel in the sequence is a metaphor for Ree, who is a victim of a disrupted naturalistic environment. The squirrel’s peaceful existence is displayed through the squirrel’s shuddering fear. The camera movements are rapid and disorienting, overwhelming the viewer and adding to the otherworldly nature of the sequence. A worms-eye-view shot of the trees is used, displaying the squirrel, and by extension, Ree, as dwarfed, emphasizing her vulnerability.

The jarring diegetic sound of a chainsaw, representing the squirrel’s impending doom, is symbolic of the masculine-oriented world that Ree is a part of, creating a sense of foreboding. The Dutch angle shot of vultures tearing at carrion symbolises Ree’s poverty-stricken way of life, with the vultures themselves representing the men in her life who cause destruction and harm. The vultures merely abandon the destruction they have caused, representing the fact that Ree must deal with the aftermath of Jessop’s disappearance. This further bolsters the feminist ideology of the film. The final shot of billowing smoke represents ultimate destruction, both physically and emotionally, underscoring the themes of poverty and struggle that pervade the film.

In conclusion, the “squirrel dream” sequence is a surreal yet powerful representation of the film’s protagonist, Ree and the struggles she must face head-on The use of visual and audio techniques creates an otherworldly, dreamlike atmosphere, enhancing the impact of the sequence on the viewer. The feminist ideology of the film is rooted in the representation of Ree as a victim of a masculine-oriented world, and the themes of poverty and struggle that pervade the film.

Production Diary: A Girl’s Own Story (Jane Campion, 1984)

A Girl’s Own Story (Jane Campion, 1984) is a 27-minute Australian short film which explores the stage of female adolescence during the 1960s. Choosing to film in black and white, Campion displays the narrative by intercutting between multiple storylines. The film takes place in Australia, during the height of Beatlemania, in which two school friends – Pam and Stella – both kiss cutouts of Beatles members. Afterwards, one of the girls wears a mask of Ringo Starr before they practice kissing each other. This is intercut with scenes of another schoolgirl, Gloria, who is coerced by her brother into roleplaying as cats. In addition to this, the film also explores the relationship between Pam’s estranged parents, who use their daughters to communicate with each other.

A Girl’s Own Story immediately establishes the main ideas explored over the duration of the film. The opening scene involves a group of schoolgirls who observe an image of the male anatomy, which is displayed to the viewer through the use of a glance object. This introduces the viewer to the themes of sex and adolescence which are explored throughout. Campion’s decision to film in black and white with a 4:3 aspect ratio aptly reflects the aesthetic of the time period. This is further reinforced through Campion’s carefully selected mise-en-scène – particularly the costume design of the traditional schoolgirl uniform.

Voiceover is also used sparingly throughout the film, allowing the viewer to delve deeper into the minds of the three protagonists. Campion also interestingly chooses to conclude the film with a song that is sung by our three main characters: Pam, Gloria and Stella. Through this, the three girls are able to express their adolescent inner turmoil that is portrayed over the course of the film.

Personally, I did not receive much enjoyment from A Girl’s Own Story and found myself particularly disengaged from the events portrayed onscreen. The characters and themes of the film did not resonate with me, and I found the choice to conclude the film with a song to be somewhat schmaltzy. The film demonstrated to me the effectiveness of parallel narratives throughout a short film.

*The three protagonists singing during the final scene*

The Grand Budapest Hotel: Representation

Throughout the film, Wes Anderson chooses to represent a variety of groups in a particular way. For example, Anderson chooses to expose our cultural understanding of the Nazis in order to depict the prominent “ZZ” fascist group throughout the film.

Without explicitly telling us, everything we need to know about this group is implicitly hinted at through the use of mise-en-scène and performance. The homogeneity of the costume design reiterates the uniformity of the fascist group. Alongside this, the performances are extremely well-choreographed and synchronised to emphasise this.

The film frequently focuses our attention towards the familiarly designed “ZZ” insignia which is extremely reminiscent of the SS Nazi police force. Through this, Anderson manages to use the shared understanding of this symbol to his advantage in order to silently represent the prominent fascist group in this way.

Another example of representation reinforced throughout The Grand Budapest Hotel is the differentiation in class. The lavishness of the hotel’s interior as well as the opulence of the guests purport a sense of aristocracy. Conversely, the appearance of the crippled shoeshiner emphasises the harsh reality of the working class during this time period.

*Difference in class represented within The Grand Budapest Hotel*

The Grand Budapest Hotel: Aesthetics

Throughout the film, Wes Anderson utilises a number of techniques in order to illustrate intriguing and enthralling aesthetics throughout.

Primarily, the implementation of three different aspect ratios create a distinctive aesthetic throughout the film. Anderson utilises a different aspect ratio to represent each time period. These include 1.37:1 (1932), 2.4:1 (1968) and 1.85:1 (1985). In effect, this subtly informs the viewer of the current scene’s time period.

Each aspect ratio was carefully chosen in order to accurately reflect the time period in which it represents. Beginning in the 1980s, the film utilises a standard widescreen aspect ratio which was typical of film during that specific time period. During the 1960s section, an anamorphic aspect ratio is implemented in order to indicate a sense of comfort and luxury during this point in Zero’s life. Finally, the majority of the film takes place during the 1930s in which the vintage ‘Academy Ratio’ is utilised to authentically represent the Golden Age of cinema during this time.

*Aspect ratios within The Grand Budapest Hotel*

Another aesthetic Anderson utilises is an enchanting colour palette. Making apt use of cremes, pinks, reds and beiges, Anderson diligently illustrates a vibrant and distinctive colour palette which astutely complements the film’s narrative and style.

In addition to this, the film intelligently makes use of zeitgeist in order to reiterate the time period as well as the opulence and aristocracy associated with it. Each and every costume worn by the actors is meticulously selected to insinuate a sense of authenticity.

*Colour palette and costume within The Grand Budapest Hotel*

Characteristic of Wes Anderson’s filmography, The Grand Budapest Hotel features a highly stylised utilisation of symmetry and framing. Throughout the film, Anderson typically establishes a symmetrically composed frame, through which a character or object will then enter. The viewer’s attention is then focused towards this object which is almost always centrally framed.

*Symmetry within The Grand Budapest Hotel*

The Grand Budapest Hotel: Performance

We were tasked to analyse the performances from the 4th and 5th chapters of The Grand Budapest Hotel. In class, we discussed the expressive use of voice, intonation, movement and physicality throughout.

The scene opens on a silhouette of M. Gustave (Ralph Fiennes) standing by a balcony. Through a diligent use of posture, he is depicted as a reflective and insightful person.

Throughout this sequence, Ralph Fiennes gives an extremely expressive performance as M. Gustave. He uses lots of hand gestures and other precise motions to oversee and instruct the hotel workers.

His performance can be described as instructive and clear, as well as naturalistic. Fiennes utilises a very particular way of speaking, which illustrates his character as a member of aristocracy. Gustave additionally establishes a tone of authority, through which he asserts himself as a self-assertive figurehead. His words are chosen conscientiously in order to meticulously instruct the members of the working class.

During the conversation with Madame D, Fiennes uses subtle gestures such as a smile in order to feign intrigue. Interestingly, his measured demeanour is shattered when he makes notice of her nail varnish. Gustave’s precise movements are abandoned during this revelation which gives the viewer an invaluable insight into Gustave’s true colours.

Fiennes’ movements throughout are choreographed and precise and are meticulously timed to Anderson’s predetermined camera movements. As the camera crabs left, Fiennes naturalistically glides left. Anderson additionally makes use of blocking throughout this sequence, Gustave is always centrally framed in order to emphasise his authority.

The Grand Budapest Hotel: Mise-en-scène

We were tasked to analyse the mise-en-scène from the 5th chapter of The Grand Budapest Hotel. In class, we discussed the partial and complete control of environment throughout the chapter.

Chapter 5: Lobby

It is important to establish the two key intentions the director attempted to achieve through the use of mise-en-scène throughout this sequence. Firstly, Wes Anderson’s first intended aim is to illustrate the opulence and grandeur of the hotel itself, emphasising the upper-class society of the time period. Secondly, Anderson attempts to present Gustave as an authoritative and self-assured figurehead through the use of mise-en-scène throughout.

From the very start, Gustave can be described as well-presented, well-groomed and polished. He dons an extravagant purple suit and bow tie and sports a meticulously slicked hairstyle, as well as a prominent moustache. All of this contributes to Gustave being perceived as a well-respected concierge in addition to being a member of aristocratic society. On the other hand, Zero dons a similar – albeit slightly askew – outfit, this is exemplified by a lop-sided “Lobby Boy” hat, as well as a fake moustache.

During the first scene of this chapter, Anderson utilises a range of flamboyant colours to reiterate the lavishness of the hotel itself. These include cremes, pinks and beiges as well as a generally snowy environment. Moreover, the lettering of the hotel sign is emblazoned in a flashy gold trimming which captures the audience’s attention.

During Gustave and Zero’s conversation, we cut to an appropriately dressed upper-class man having his shoes shined by a crippled working class boy, who is pictured as having scraggy clothes and dirty shoes. This emphasises the social divide presented to the viewer throughout the film. Moreover, the wagons parked outside the hotel contain a bountiful amount of luggage which purports a sense of immense popularity within the hotel.

*Social hierarchy in The Grand Budapest Hotel*

Inside the hotel, the interior is furnished with a vast array of luxurious decor, examples of which include crimson carpets and imported exotic plants. In addition, the entire lobby is grandly illuminated and every guest is well-presented and respectably dressed. There is a juxtaposition created between the wealth of the hotel and the mundanity of the workers’ duties.

During Zero’s interview, Gustave immediately deals with the multitude of interruptions by the hotel staff. Each staff member immediately moves out of Gustave’s way and astutely answers to his beck and call. This contextualises Gustave as a well-respected concierge and a force to be reckoned with.

*Lavish costume and set design within The Grand Budapest Hotel*

The Grand Budapest Hotel: Sound

We were tasked to analyse the sound from the 25th and 26th chapter of The Grand Budapest Hotel. In class, we discussed the deliberate and considered use of diegetic and non-diegetic sound throughout.

Chapters 25-26: The Remote Foothills

The first use of sound featured in the chapter is the implementation of Alexandre Desplat’s non-diegetic composed score. Featured throughout the entire duration of the two chapters, Desplat’s score can be described as dark in nature as well as layered. For example, the pulsing rhythm employed in the first scene perfectly matches the on-screen visuals. Furthermore, the utilisation of particular instrumentation such as a pipe organ foreshadows Gustave and Zero’s later visit to a church.

Anderson expertly makes use of layered diegetic wind sounds, as well as subtle ambient sound effects in order to attract the audience’s attention. The first scene also uses diegetic dialogue as well as emphasised diegetic sound effects attributed to Joplin’s character. Examples including the brandy bottle and the coat poppers attribute a sense of menace to his character.

It is also important to make note of the fact that only the objects of diegetic significance receive sounds, such as the coins as well as the crunching snow. During the startup of the motorbike engine, Anderson interestingly cuts off the sound as the shot cuts to the jarring train whistle. This is then followed by the non-diegetic narration from Zero, during which the other sounds decrease in the mix.

As the train comes to a halt, the diegetic sounds of hissing steam and brakes increase in the mix. During which, the repeated rhythmic pulsing score give the film a playful pace. The score reduces in the mix as the train door opens to reveal Henckels’s character. The emphasised diegetic sniffs inform the viewer that the ZZ is now aware of Gustave’s presence.

As we cut to an extreme long shot of the observatory, the mix becomes more echoey. The movement temporarily stops, during which the diegetic wind ambience is attributed. Due to the fact that the characters are far away, the dialogue decreases in the mix and increases as we move in closer. As a new character enters, the diegetic footsteps become gradually louder to focus our attention.

As our characters are instructed towards their next goal, the non-diegetic composed score rises in the mix to create a loud and dramatic atmosphere. Anderson then interestingly makes the stylistic choice to make the screeching of the cable car occur in time with the score. This exemplifies the rhythmic flow of the film and instills satisfaction within the viewer.

The score rises in the mix as the characters approach their destination. It also illustrates a sense of playfulness to perfectly match the cartoon-like nature of the characters. As the characters enter the church, the timbre of the now diegetic score becomes echoed a capella voices. As the characters sit down, the score lowers in the mix to a single voice to focus the viewer’s attention on the ensuing conversation between the characters.

The movement stops as we cut to the confession booth, in doing so the dominant sound that can be heard is the diegetic dialogue which is accompanied by a very low, mournful score. The score then slowly rises in the mix as Gustave makes the revolution that there is a second will. As the scene cuts to black, we are forced to picture the scene as we hear the diegetic sound of the body falling . As the chase ensues, the driving percussive elements of the score increase and proceeds to stop as the movement stops.

The Grand Budapest Hotel: Cinematography

We were tasked to analyse the cinematography from the 21st chapter of The Grand Budapest Hotel. We discussed each individual shot in class and analysed the employed cinematographic techniques throughout.

Chapter 21: Check-Point 19 Supply Depot

In the first long shot, Anderson establishes a symmetrical frame with in a frame. The ratio is 4:3 to inform the audience of the time period (1932). Our attention is then focused on a car which enters the frame towards the centre. The camera then pans 90º to the right, through which our attention is now drawn towards the manhole cover illuminated from above. The camera then dollies forward to allow the viewer to read the text on the manhole cover. Zero then enters the frame to the left and peers into the manhole.

Anderson then cuts to a symmetrically framed long shot of the prison cell interior, in which more frames within frames are featured. The lights then go out while the actors perform highly choreographed movements in order to escape. As the lantern is lit, the viewer’s attention is focused towards the hole in the ground. The camera then pedestals down, following the centrally framed lantern through the floor and into the tunnel.

We then cut to a centrally framed, symmetrically composed closeup of a conveniently illuminated and labelled button, expertly focusing our attention.

The camera then crabs right to reveal the labelled dumbwaiter, through which another frame within a frame is composed. The viewer’s eyes are drawn directly to this specific location, as a character then enters the frame through the dumbwaiter. The camera then crabs back left, resting on the symmetrically framed door. As the camera continues to crab left, we follow the running men as we come to rest on the ladder.

It then cuts to a symmetrically composed frame of the prison gallery, through which our attention is directed to the centre. The long ladder then descends through the established frame. We then cut to a different view of the ladder, which presents us with a labelled wall, in order to inform the viewer of the location.

Anderson cuts to the opposite 180º angle, breaking the 180º rule in the process. Through a symmetrically constructed frame within a frame, our attention is focused on the smaller frame through which a character appears. A shot/reverse shot sequence then takes place, between the escapees and the prisoner, in which the characters are framed appropriately.

We then cut to a wide shot through which the characters enter the frame. The camera pans 90º and rests on a labelled lift door. We then dolly forward into the guard bunk room. The frame is dimly lit and the shadows are meticulously framed as the characters nimbly navigate their way through the bunk room. The film then cuts to a low angle shot of the men crawling under the bunks.

We cut to a frame within a frame of the characters cutting the prison bars in sync. It then cuts to a wider shot in order to show the frame in the larger context of the prison wall. The characters then throw the long ladder outside.

Anderson cuts to a birds-eye-view shot which shows the colossal height of the building as well as the length of the ladder. The frame is conveniently lit to show the path. We then cut to an extreme long shot which shows the men climbing down the side of the building, emphasising the sheer size of the prison.

It cuts to a shot depicting the windows as the escapees climb along the edge, the camera then crabs right to show the progress. The frame within a frame features a conveniently labelled steam vent.

A wide shot is established to portray the laundry basket landing point, our attention is focused on this centrally framed area. The men enter the frame downwards through the vent which is lit from above. As the characters land, they are symmetrically placed. We then pedestal down to reveal a centrally framed trapdoor.

We then cut to a worms-eye view frame within a frame of the prisoners looking down the trapdoor. A sequence which alternates between birds-eye and worms-eye shots then occurs. The trapdoor remains consistent and the characters are symmetrically positioned.

The film cuts to a wide shot, through which a prisoner armed with a knife enters. We cut to a worms-eye view portraying the other characters’ reactions in which they are all still symmetrically placed. Finally, a birds-eye shot displays the aftermath of the stabbings.

The Grand Budapest Hotel Inspector

Throughout the film, Wes Anderson makes reference to a number of contextual ideas. These include:

Cultural/Social

What sort of person might have stayed at The Grand Budapest Hotel? What sort of lifestyle does the film evoke?

The hotel is home to many aristocratic, wealthy guests which reinforces the theme of class portrayed throughout the film.

The film evokes a life of extravagance and oozes style throughout. The vibrant colour palette emphasises the upper class society in which the inhabitants of the film are members of.

Historical/Political

Was there a real “Grand Budapest Hotel”? What inspired the filmmakers?

The “Grand Budapest Hotel” is indeed fictitious, however many elements of the film take influence from the style of Karlovy Vary, the colorful spa town in the Czech Republic, primarily the Grandhotel Pupp. In addition to this, the model of the hotel featured in the poster of the film, is the historic Bristol Palace Hotel.

*Grandhotel Pupp and Bristol Palace Hotel*

What key historical events are portrayed in the film?

The main historical event portrayed throughout The Grand Budapest Hotel is the stylistic portrayal of a fascist army which holds a strong resemblance to the Nazis. The costumes are emblazoned with a “ZZ” insignia not unlike the SS. It is interesting to make note of the fact that they are never referred to as “Nazis”, it is only subtly implied.

Institutional

How does The Grand Budapest Hotel fit into Wes Anderson’s canon of work?

The Grand Budapest Hotel is Wes Anderson’s eighth film and is considered by many to be his magnum opus. Through the use of an array of aspect ratios, an ostentatious colour palette and a vast ensemble cast, Anderson forges an unforgettable cinematic experience appreciated by critics and audiences alike.

Technical

What interesting technical techniques does Wes Anderson employ to tell the story?

Wes Anderson uses a number of techniques throughout the film such as lighting, depth of field and narrative editing in order to reflect Zero’s emotional recollection of events. Anderson often establishes a frame within a frame and focus the audience’s attention by having an object enter the frame, which is often accentuated by convenient lighting.

The Grand Budapest Hotel (Wes Anderson, 2014)

The Grand Budapest Hotel (Wes Anderson, 2014) is a crime/comedy detailing the adventure of an eccentric concierge and his newly befriended lobby boy protégé. The film contains an ensemble cast containing the likes of Ralph Fiennes, Bill Murray, Edward Norton and Saoirse Ronan to name but a few.

We follow an unnamed author (Jude Law) who is interviewing Zero – the owner of the prestigious Grand Budapest. We learn the story of M. Gustave (Ralph Fiennes), the famed concierge of the hotel and a young Zero (Gustave’s newly appointed protégé) in a daring and adventurous rags to riches quest.

Wes Anderson uses many interesting techniques throughout the film. Firstly, the narrative structure of the film is nonlinear as we flick back and forth between three key time periods: 1932, 1968 and 1985. Anderson expertly makes use of three different aspect ratios for each time period in order to subtly inform the viewer when each on-screen event is taking place.

*Use of aspect ratios in The Grand Budapest Hotel*

The film’s aesthetics are enchanting throughout. Anderson makes full use of the key elements of film form, predominantly the cinematography and mise-en-scène to produce a emphatic and flamboyant impact.

*Use of cinematography*, *framing and mise-en-scène*

Being only 7 years old at the time of writing, The Grand Budapest Hotel will surely become a cult classic in the future. The filmmaking is nothing short of masterclass and each shot of the film could be a framed piece of artwork. Wes Anderson’s legacy will surely inspire aspiring auteurs to shape the future of cinema.

The film explores themes of class and wealth throughout, emphasising the occupants of the hotel as being members of upper-class society and illustrating the employees as subservient.

Personally, I thoroughly enjoyed The Grand Budapest Hotel from start to finish. Each shot was visually breathtaking and the all-star ensemble cast were a joy to witness on-screen. However, I do personally believe that the plot at some points delved into the realm of being ‘convoluted for the sake of complexity’. Additionally, in my opinion, a large part of the film’s selling point is the eclectic cast and I think it would not be as critically acclaimed without it. In saying that, I would highly recommend the film to anyone purely from the aesthetics alone.

My favourite sequence would perhaps be the fantastic ski chase scene. Anderson intelligently makes use of many filmic elements – particularly editing and special effects to construct a tense and enthralling sequence.

Overall, I would rate The Grand Budapest Hotel ★★★★.

A Brief History Of Cinema

Cinema is a relatively new dominant art form, being around 130 years old. It is ever-evolving and was a revolutionary way in which humans could express themselves. It is also a knowable concept, due to the fact that the entire history of cinema is mapped out and is within our great-grandparents’ lifetimes.

*An early cinema – only one person was able to watch a film* *at a time*

The history of cinema starts in the 1800s, when photography was first invented. This was a revolutionary moment in history, as now you were able to capture a moment of reality. This was done through the process of exposing a camera obscura containing photosensitive chemicals to light. However, early photography took hours and the subject was forced to sit still for a prolonged period. Subsequently, photography quickly developed and soon enough became a business. Afterwards, people began to ponder the idea of moving images, and soon realised that if many images were sequenced together in rapid succession, it created the illusion of movement. This led to the production of early films – which were reminiscent of flip books.

By 1895, technologies were competing to produce moving images, however, it was a mere novelty at this point. There was no infrastructure, film now existed but was solely a “seaside attraction”. Despite this, film soon caught the imagination of the population and was consistently developed and commercialised. Two key pioneers for the film industry were the Lumiere brothers, who developed iconic early films such as Employees Leaving the Lumiere Factory and The Arrival of a Train. These short experiments did not tell a story of any kind, but merely showed the audience of the late 19th Century what film was capable of.

At this point in time, theatre was cheap entertainment and music halls were common place. As these attractions fell out of favour, music halls were replaced by cinemas and soon enough – every town had a cinema. Because of this, the snowball effect began to take place and there was a sudden explosion in both cinemas and film production. Particularly in America, film was recognised as an incredible business model and many entrepreneurs jumped straight to it. Filmmaking was quickly transformed into a factory assembly line in which the studio completed every task. This was known as vertical integration and the money was gained from the public. The American film industry was constantly competing to be bigger, better and have more assets and this was done by spending the most amount of money. Every stereotypical trait that Hollywood is associated with (glamour, scale, money etc.) originated from this point.

Another key trailblazer in the world of filmmaking was George Melies, who invented both substitution splices and double-exposure: two key techniques in modern day cinema. Melies’ most iconic work was A Trip To The Moon (1902) which made great use of both techniques.

During 1900-1910, cinema went from being the “theatre of attractions” to narrative-driven. Films were no longer a series of stills – technology had greatly advanced and full stories were being told. 35mm film was used to shoot, process and produce films. Physical film was used for mainstream cinema up until about 15 years ago until digital filming was used. In order for the human eye to be fooled into perceiving a sequence of images as movement, 24 images must be displayed every second.

By 1920, film was the most popular art form in the Western world due to the fact that it was accessible to everyone. However, colour and sound were problems to be solved. The idea of painting sets was briefly considered, but was deemed far too impractical. Dubbing was also attempted to solve the sound problem, but this didn’t work. At this point, all films were shot in 4:3 aspect ratio (square), as widescreen wasn’t considered until much later.

Throughout the later 20th Century, cinema continuously developed and many problems were solved. The first film with synchronised sound was released in 1927 and two key actors who were famous before and after sound were the comedy duo Laurel & Hardy. Film was used for World War propaganda, as well as many other commercial items.

However, the invention of the television instantly established itself as the main opponent for the film industry. Initially, TVs were far too expensive for the average person, but by the 1950s most average families owned a television. Ticket sales began to decline as there was no reason to go the cinema anymore when you could watch the latest films from the comfort of your own home.

The film industry constantly attempted to overcome the TV problem by initially making cinema screens much wider than TV screens. Going to the cinema now became a prestigious event, rather than a day-to-day activity. New films were additionally not shown on television until many months down the line, this was done to increase cinematic demand. The film industry also briefly dabbled in 3D, but this wasn’t commercially viable.

By the 1970s, VCR was a new competitor for the film industry and video rental shops, such as Blockbuster, dominated the market. As each new obstacle arose, cinema threw money at the problem to counteract it. However, this ultimately failed and by the 1980s, almost every cinema in the UK closed down.

In present day society, the film industry faces many opponents such as TV channels, internet and streaming services.

Cold War Hot Take

Cold War (Pawel Pawlikowski, 2018) is a Polish drama that explores the relationship between two characters: Zula and Wiktor during the period between the end of WW2 and the beginning of the Cold War. Throughout these years, we witness the tumultuous romance between Zula and Wiktor as their relationship develops and devolves throughout the duration of the film.

The film uses many interesting techniques to portray the time period accurately. Firstly, the film uses 4:3 aspect ratio, and it is also in black and white. These two cinematographic choices are typically associated with early filmmaking, due to the fact that these were the only options available at the time. This contributes to the film’s authenticity; as well as creating an aesthetically pleasing frame.

The film incorporates a number of prolepses throughout, which effectively and efficiently conveys the passing of time and emphasises how estranged the pair’s relationship becomes. Clever use of hair, costume design and makeup is also utilised to illustrate similar effects.

I personally reacted to the film in a mixed way. The film was consistently visually striking throughout and the performances (albeit in Polish) were excellent. However, I found myself losing interest periodically throughout the film due to the fact the events that took place throughout were relatively mundane, and the story didn’t particularly develop until the last 10 minutes. Although the arguments between the pair were compelling, I didn’t particularly connect with either character. Consequently, I didn’t have an investment in the film and this was detrimental to my overall opinion of it.

I think that the filmmakers were trying to emphasise the brutality of post-war life, as well as nullify the preconceived stigma of typical romance portrayed throughout cinema during this time period. Everything isn’t a happy love story, and Pawlikowski expertly conveys this message throughout the film.

Overall, I would rate Cold War ★★★½.