ideology – Otis Morley’s A-Level Film Studies Blog

Component 1c: British Film Since 1995 (Ideology)

How useful has an ideological critical approach been in analysing the films you have studied? Refer in detail to one or more sequences from each film.
Autumn 2021

Plan:

Introduction

An ideological critical approach is often a highly insightful lens through which a film can be evaluated. In essence, considering ideological implications can enrich the meanings that are able to be extracted from a film’s thematic tapestry. Trainspotting (Danny Boyle, 1996) is a highly frenetic film showcasing the Edinburgh drug culture throughout the 1990s in a nonlinear fashion. The film moves at a blistering pace, prioritising the task of immersing the viewer within its world. Because of this, the film’s ideological messaging is notably ephemeral – fluctuating between themes of anti-consumerism, hedonism, and capitalism. In contrast, This is England (Shane Meadows, 2007) offers a clear-cut narrative with a strong anti-nationalist ideological underpinning, telling a single story that serves to critique the Thatcherism of the 1980s.

Body

Trainspotting – fluctuating ideology: anti-consumerist, hedonist, capitalist

Cold open – Lust for Life lyrics, “choose life” monologue, Sick Boy heroin bliss
The liberal zeitgeist of the 1990s – exaggerated mise-en-scène in drug den, harsh reds, reinforce the effects of drug use
Boyle critiques the consumerist society that perpetuates drug addiction and poverty – encouraging audience empathy
London Montage – cliched sights of London reinforces superficiality. A visual embodiment of Renton’s prior montage – the emptiness of consumerism and conformity. Despite a change in location, Renton is trapped in a consumerist vicious circle – systemic problems of society
Closing sequence is a showcase of Renton’s rejection of hedonism and nihilism – final mirroring monologue

This is England – anti-nationalist

Opening montage – newsreel archival footage grounds the film in Britain during the 1980s. Highlights the economic and social issues that led to the permeation of nationalism. Shaun’s impoverished, fatherless way of life is as a result of the events portrayed in the montage.
Use of soul and reggae music creates a juxtaposition with the violent imagery on screen. Inherent contradictions within skinhead movement, encourages the audience to question the validity of Combo’s ideology
Thatcherism – working class resentment towards controversial policies, embracing capitalism and shutting down coal mines. Iranian embassy crisis.
Cultural and racial inclusivity – younger, older
Combo’s entrance – malice and bigotry is revealed through exaggerated enunciation of racial epithets. Representative of the plague of nationalism during the 1980s. Handheld cameras focus in on a closeup, contrast gliding Steadicam during montage
Racist bother montage – gliding and graceful camerawork. Portraying skinheads as simultaneously pathetic and threatening. Powerful critique of indoctrination – Shaun’s gradual descent into racist culture
Newsreel montage – implicit commentary on the dangers of patriotism. Footage displays a solider erecting a British flag in a tiny village – viewer encouraged to question the validity of the British victory
Symbolism of Shaun rejecting nationalism – throwing flag in ocean. Meadows does not leave his anti-nationalist message up for interpretation or debate

Conclusion

In conclusion, viewing Trainspotting through the lens of an ideological critical approach reveals the film’s attempt to comically deconstruct the messages that are typically conveyed to the youth. Despite the film’s ideological ambiguity, taking this particular approach has been useful in unravelling the thematic substance of the film. Conversely, employing an ideological critical approach for This is England allows for the film’s unashamed anti-nationalist ideology to be fully comprehended, encouraging us to question the nationalism and indoctrination that pervaded England during the 1980s.

Essay – Version 1

Trainspotting begins with a jarring cold open, beginning in medias res with an establishing wide shot of Renton and Spud fleeing from the authorities down the streets of Edinburgh. This frenetic opening is accompanied by the non-diegetic compiled score – Iggy Pop’s Lust for Life – a punk song from the 1970s that is aptly representative of the hedonistic lifestyle led by the characters. As we continue to follow Renton, we are subjected to non-diegetic narration – Renton’s iconic “choose life” monologue. The monologue provides a counter-culture message, rejecting societal norms and expectations, parodying the Scottish anti-drug mantra, instead glorifying the characters’ alternative lifestyles. This opening scene appeals to young defiant individuals, representing the liberal zeitgeist of the 1990s.

Scenes of the chase are intercut with scenes of Mother Superior’s drug den, during which the camera focuses in on a closeup of Sick Boy taking heroin, emphasising the hedonism embraced by the characters. In addition, the mise-en-scène within the den is notably heightened and exaggerated. Boyle’s use of harsh reds arguably reinforces an anti-capitalist ideology, symbolising the characters’ bleak, impoverished existence. By taking an anti-consumerist ideological approach, the audience is able to infer that an inherently consumerist society ultimately perpetuates drug addiction and poverty. This encourages the audience empathise with the characters’ struggles, causing the spectator to question the capitalist system that creates such inequalities.

The London montage that occurs near the midpoint of the film also serves to reinforce an anti-capitalist ideology. The montage quickly cuts between a multiplicity of cliched sights associated with London, including Tower Bridge, ice cream, pigeons, and Piccadilly Circus. All of these serve to represent the superficiality of the city’s supposed capitalist agenda, which is reinforced by an arguably ‘soulless’ non-diegetic compiled EDM score that serves to epitomise the contemporary mainstream of the 1990s. The montage serves as a visual embodiment of the aforementioned “choose life” monologue, demonstrating the emptiness of consumerism and conformity. Despite the fact that Renton has ostensibly left his old lifestyle in Edinburgh behind, he is still trapped in a similar vicious circle. Irony is created from the fact that that while Renton has escaped from the drug den, he has entered into a new realm of capitalism and consumerism by becoming an estate agent, that is just as dangerous in his eyes. This highlights the film’s overarching ideological trappings, illustrate that the issues created by capitalism are systemic and cannot be solved by a simple change of scenery.

Trainspotting’s closing sequence perhaps best underpins the film’s oscillating ideological messaging, depicting Renton’s final decision to reject hedonism. Renton’s decision to steal the money represents the inevitable embrace of a capitalist system, suggesting that he is finally leaving his life of nihilism. Renton ultimately “chooses life” by taking the money for himself, realising that hedonism does not lead to true fulfilment in life. This is displayed to the viewer through a focus pull into a closeup that reveals Renton walking away with the money. Through the use of non-diegetic narration, Renton pledges to begin living a disciplined life, mirroring the rhythm and cadence of his initial “choose life” monologue. Renton states, “I’m gonna be just like you.”, forcing the audience to question their preconceptions towards society, encouraging them to question the status quo.

Conversely to Trainspotting’s cold open, This is England begins with a montage made up of newsreel archival footage. This serves to ground the film in Britain during the 1980s, highlighting the economic and social issues that led to the permeation of nationalism throughout the country, establishing the film’s anti-nationalist ideology. The montage draws particular attention to the Margaret Thatcher government and the rise of far-right politics in England. This included groups such as the National Front, a political party known for its racist rhetoric and violent actions, briefly displayed in the opening montage. The montage also showcases working-class resentment towards Thatcherist policies, involving the embrace of capitalism and the shutting down of coal mines. This footage is accompanied by a non-diegetic compiled reggae song, creating a juxtaposition when apposed with the violent imagery on screen. This song also encourages the audience to question the inherent contradictions within the skinhead movement – a movement originating from a shared love of music associated with black culture that was later plagued by racism and nationalism. After the montage, a title card establishes the year, 1983, and we are introduced to the main protagonist, Shaun. The viewer then is able to make the connection between Shaun’s impoverished, fatherless way of life, and the events portrayed in the montage – Shaun’s life is a direct result of the Thatcher government.

Soon afterwards, Shaun is taken under the wing of the skinheads and Meadows implements the use of another montage to illustrate the budding connection between them. Once again, the montage is accompanied by a reggae piece – a genre that emerged in Jamaica as a form of resistance to colonialism. In addition, the wide shot of the gang walking towards the camera displays the inclusive nature of the skinheads. The gang is notably diverse – being racially inclusive, having younger and older members, alongside male and female members. This challenges a nationalist ideology that typically campaigns for a homogenous, racially pure nation.

The sequence in which we are introduced to Combo is important to consider when taking an ideological critical approach. Combo’s malice and bigotry towards racial minorities is reinforced through his emphasised enunciation of racial epithets. Meadows’ use of handheld cameras contrasts the gliding Steadicam shots during the preceding montage, focusing in on a closeup of Combo to emphasise his raw and unpolished nature. As Combo proceeds to tell his story, the non-diegetic piano score is particularly manipulative, being an exception to the film’s footing in British social realism, emphasising the emotional impact of Combo’s bigoted remarks on the audience. Meadows’ intentions are to make the audience condemn Combo’s actions, highlighting the negative consequences of nationalism and racism within the bigger picture of the country.

The montage in which Combo’s gang wreaks havoc serves as Shane Meadows’ ultimate indictment of nationalism, racism, and the toxic ideology that is often associated with it. The camerawork is gliding, graceful and carefully framed, as seen in previous montages earlier in the film. This creates a sense of unease and discomfort for the audience, as the viewer is forced to confront to the racist hate crimes head-on. Throughout the sequence, the skinheads are simultaneously portrayed as threatening and pathetic. In large numbers, the group are a force to be reckoned with, displayed through the claustrophobic two-shot of Combo and the boy playing football. However, they are individually pathetic and dim witted, as evidenced by the wide shot showcasing misspelled racist graffiti. This technique serves to undermine the group’s power and authority, reinforcing the film’s anti-nationalist ideology. Meadows also depicts the indoctrination of Shaun, as he is taught racist phrases and is trained in the ways of racist hate crime. This is perhaps best underpinned through the superimposition of Shaun walking through a tunnel, overlayed with racist graffiti. In effect, this sequence serves to subject the audience to the repugnance of racism and the danger of extremist ideologies.

Towards the end of the film is a montage that mirrors the opening montage made up of newsreel footage – this serves as a bookend for the film, encouraging the audience to question the dangers of nationalism. The montage acts as an implicit commentary on the dangers of patriotism, exemplified through footage which displays a solider erecting a British flag in a tiny village. This encourages the viewer to question the validity of the British victory during the Falklands War, which directly impacted upon Shaun’s life. This showcase of the grim reality of working-class life in England reinforces the dangers of blindly following nationalist ideologies. This message is further emphasised during the final scene of the film, displaying Shaun throwing the English flag into the water, symbolising his ultimate rejection of a nationalist ideology. The final shot of the film is a closeup of Shaun looking directly into the camera, breaking the fourth wall. This underpins Meadows’ ideological messaging – the film’s anti-nationalist agenda is not up for interpretation or debate.

This Is England Close-Up (Closing Sequence)

Overview

The closing sequence of This is England (Shane Meadows, 2007) serves as an epilogue, tying up loose ends and giving closure to the film’s characters. It also has a wider social commentary on nationalism and the effects it can have on working-class communities. The sequence includes montages of images depicting life in England, newsreel footage of the Falklands War, and the return of soldiers from the war. The final shot displays Shaun throwing a British flag into the water, symbolising his rejection of a nationalist ideology.

Ideological Analysis: Anti-Nationalist

The closing sequence of the film is a scathing critique of nationalism and its effects on working-class communities. Shane Meadows utilises montages of images depicting working-class poverty in England against the backdrop of the Falklands War. The newsreel footage of the Falklands War also serves as a commentary on the dangers of patriotism. The footage shows a soldier erecting a British flag on a tiny town hall in a village – the viewer is encouraged to question the validity of the British victory.

The victory in the war is visually compared with the pointless violence of Combo and his gang, highlighting the futility of nationalist ideologies. This message is further reinforced by the final shot of Shaun throwing the British flag into the water, symbolising his ultimate rejection of a nationalist ideology.

The use of symbolism in the sequence is also notable. The film’s title, “This is England,” is a reference to Combo’s rhetoric of English pride and patriotism that film attempts to ultimately reject. However, the film shows the grim reality of working-class life in England and the dangers of blindly following nationalist ideologies. The rejection of nationalism by Shaun is also reflected in his appearance, as he is dressed differently from his racist attire in the film. This transformation represents the rejection of nationalist ideologies and the embracing of a more inclusive identity.

The film’s ideology also presents no room for disagreement, with Shaun’s final action symbolically communicating a rejection of British pride and patriotism. Meadows shows no interest in leaving his anti-nationalist agenda up for interpretation or debate, bolstered by the film’s use of a notably manipulative non-diegetic score.

Narrative Analysis

The closing sequence of This is England begins with a montage made up of newsreel footage that mirrors the opening sequence of the film. This footage also adds a layer of authenticity to the film’s narrative, serving as a commentary on the dangers of patriotism and its effects on working-class communities. The return of soldiers from the war also ties into the film’s themes of masculinity and violence, as we see the effects of war on soldiers and their families.

The final shot of Shaun throwing the British flag into the water is a powerful conclusion to the film’s narrative. It serves as a symbol of Shaun’s rejection of nationalist ideologies and his acceptance of a more inclusive identity. The shot also leaves a lasting impression on the audience, highlighting the dangers of nationalist indoctrination.

This Is England Close-Up (“Racist Bother Montage” Sequence)

Overview

The ‘Racist Bother Montage’ sequence is a pivotal moment in This is England (Shane Meadows, 2007). The sequence takes place after one of the members of the group, Combo, returns from prison with newfound racist beliefs. The scene depicts the group’s descent into racism, as they begin to target immigrants and other minority groups. The scene is significant as it highlights the danger of groupthink and indoctrination, and its impact on impressionable young people.

Ideological Analysis: Anti-Nationalist

The sequence primary serves as the ultimate indictment of nationalism, racism, and the toxic ideology that is often associated with it. The sequence is a critique of the rise of far-right movements, the dangers of groupthink and the indoctrination of young people into extremist ideologies. Meadows uses a variety of techniques to convey this message.

The camera work is gliding, graceful and carefully framed, as seen in previous montages earlier in the film. This creates a sense of unease and discomfort for the audience, as they forced to confront to the racism head-on. The film highlights the absurdity of racism, by portraying the skinheads as a group of pathetic losers. The group initially seems intimidating especially when in a large groups, most evidently when they bully the women in an underpass. However, they are individually pathetic and dim witted, as evidenced by their misspelled graffiti. This technique serves to undermine the group’s power and authority.

Meadows also depicts the indoctrination of Shaun, as he is taught racist phrases and is trained in the ways of racist hate crime. The grown men’s threats and bullying of children is also a powerful critique of their racist ideology. The overlay of racist graffiti imagery, symbolically conveying Shaun’s gradual descent into the racist culture. This technique serves to further highlight the dangers of racism and its potential for destruction.

Meadows provides an apt critique of nationalism and racism, highlighting their dangers and their potential to harm individuals and society. In effect, this creates a sense of unease and discomfort, as the audience is forced witness the repugnance of racism and the danger of extremist ideologies.

Narrative Analysis

The ‘Racist Bother’ sequence is also crucial moment in the film’s narrative structure. The scene serves as a turning point for Shaun’s character, as he is exposed to the dark side of the skinhead movement. The sequence is shot in a way that creates a sense of tension and unease, as the audience becomes aware of the group’s descent into racism.

The use of a manipulative non-diegetic score serves to heighten the tension and create a sense of foreboding. The music is used to underscore the dangers of extremist ideologies and their potential for destruction. The scene is shot in a way that highlights the danger of groupthink and indoctrination.

This Is England Close-Up (“Combo’s Story Montage” Sequence)

Overview

The ‘Combo’s story’ sequence in This is England (Shane Meadows, 2007) introduces us to Combo, a repugnant nationalist that serves as the film’s primary antagonist. He gatecrashes Woody’s party after being released from prison and tells the gang a story, during which his racist disposition is revealed. The sequence is a turning point in the film’s narrative, as Combo’s actions and beliefs have a significant impact on the story’s direction. The sequence also highlights the film’s anti-nationalist ideology and exemplifies its narrative structure.

Ideological Analysis: Anti-Nationalist

The sequence supports an anti-nationalist ideological approach by showcasing the negative impact of nationalism and racism. Shane Meadows, intended to expose the flaws of British society during the 1980s and how nationalism and racism played a role in dividing the country. This sequence achieves this by showing Combo’s true character, highlighting his malice and bigotry towards minorities. The use of handheld cameras contrasts the gliding Steadicam shots during the preceding montage, emphasising Combo’s raw and unpolished nature.

Combo’s enunciation of racial epithets is particularly striking and showcases his true beliefs. This scene highlights Combo’s malice and bigotry, illustrating how nationalism and racism can create an atmosphere of hate and division. The closeups of his face and the brief reactionary cutaways show a clear divide among the characters. Woody, Lol, and Milky show visible opposition, while Pukey laughs at Combo’s racist caricature. This scene also highlights the power of peer pressure and how it can influence an individual’s beliefs and actions.

The non-diegetic piano score is particularly manipulative, being an exception to the film’s footing in British social realism, emphasizing the emotional impact of Combo’s actions on the audience. Meadows’ intentions are to make the audience feel uncomfortable and disgusted with Combo’s actions, which are meant to highlight the negative consequences of nationalism and racism.

Narrative Analysis

The sequence also exemplifies the narrative structure of the film by serving as a turning point in the story. Combo’s gatecrash instantly creates a threatening atmosphere, revealing his repugnant character to the audience. The focus on Combo receiving the majority of screen time also highlights his importance in the story’s direction. When he is interrupted by Shaun, a 12-year-old, and show visible annoyance, Combo’s insecurity and vulnerability is emphasised.

The use of tight close-ups of Combo’s mouth at eye level emphasizes the hatred and emphasis on racial epithets, showcasing the intensity of the scene. The subduing of diegetic sound is a departure from British social realism, emphasising the emotional impact of the scene on the audience. This creates a powerful and emotional scene that highlights the negative impact of nationalism and racism.

This Is England Close-Up (“Fun With Friends Montage” Sequence)

Overview

The “fun with friends montage” sequence in This is England (Shane Meadows, 2007) is a pivotal moment in the film’s narrative structure. We follows our protagonist, Shaun, as he becomes accepted into a surrogate family of skinheads, who take him under their wing. This sequence marks a turning point for Shaun, who has now found acceptance within the group of skinheads.

Ideological Analysis: Anti-Nationalist

The sequence’s choice of music is significant as it reinforces the anti-nationalist ideology of the film. The music is similar to the opening sequence, featuring a non-diegetic reggae song, a genre that emerged in Jamaica as a form of resistance to colonialism. The inclusion of reggae music in the film highlights the multicultural nature of the skinheads, rejecting the idea of a homogenous, racially pure national identity. The inclusion of diverse characters, including racial inclusivity, younger and older, male and female, also challenges to the idea of a homogenous nation.

The setting of the sequence against the backdrop of poverty and graffiti is significant as it highlights the the economic decline that permeated post-Thatcher Britain. The graffiti displays a protest against the established government order, reflecting a rejection of a traditional nationalist identity.

Narrative Analysis

The “fun with friends” sequence exemplifies the narrative structure of the film in multiple ways. Firstly, the use of montage and ellipses is significant as it compresses time and tells a story. The montage acts as chapter markers in the film, signalling the passage of time and the impending arrival of Combo. The film’s use of slow-motion and highly edited montage is a stark departure from Danny Boyle’s frenetic and hyper-kinetic camerawork in Trainspotting (1996).

Shaun’s acceptance into the surrogate family is a significant moment in the film’s narrative structure. It is a turning point for Shaun, who is fatherless and struggling to fit in with his schoolmates. Shaun’s acceptance into the family highlights the importance of chosen family and the rejection of traditional nuclear family structures. The innocence of the characters is also significant as it juxtaposes their thuggish exterior. The playful and supportive nature of the characters highlights their vulnerability and the importance of emotional support.

This Is England Close-Up (Opening Sequence)

Overview

The opening sequence of This is England (Shane Meadows, 2007) is a montage that establishes the setting and time period, the Midlands in 1983, while also showcasing the UK’s social issues and pop culture of the time. It opens with a montage made up of documentary newsreel footage accompanied by a soul soundtrack, before transitioning into linear editing that introduces the protagonist, Shaun. The sequence sets the stage for the film’s exploration of the skinhead subculture and its evolution into a racially divided movement.

Ideological Analysis: Anti-Nationalist

The opening sequence of This is England introduces the anti-nationalist ideological critical approach that the film adheres to. Meadows uses a montage of UK issues and pop culture to highlight the economic and social issues of the time. The use of soul music, a genre rooted in African American culture, creates a juxtaposition with the violent imagery on screen, highlighting the inherent contradictions in the skinhead movement. The skinhead counter-culture is shown to be heavily influenced by reggae music, which further emphasizes the subculture’s appropriation of black culture.

The opening montage draws particular attention to the Margaret Thatcher government and the rise of far-right politics in England. This included groups such as the National Front, a political party known for its racist rhetoric and violent actions, briefly displayed in the opening montage. The montage also showcases working-class resentment towards Thatcher and her controversial policies, involving the embrace of capitalism and shutting down coal mines. The montage’s display of the Iranian embassy hostage crisis and the British government’s decision to send in the SAS highlights the brutality of the time period.

Meadows’ intentions are to critique the nationalism and xenophobia of the skinhead movement. The juxtaposition of racially-driven violence with African American music challenges the skinheads’ claim to being a British nationalist movement. The effect on the audience is to question the validity of the skinheads’ ideology and to create an emotional distance from the characters.

Narrative Analysis

The opening sequence of This is England exemplifies the film’s linear narrative structure. The use of montage and documentary newsreel footage creates a sense of historical context and setting that is important to understanding the film’s story and characters. The linear editing that follows introduces the protagonist, Shaun, and establishes his life as a consequence of the events depicted in the opening montage. Meadows’ intention is to create a sense of cause-and-effect that underpins the film’s narrative structure. In effect, this creates a sense of inevitability and to emphasise the role of history in shaping the lives of the characters. The use of music and imagery in the opening sequence also foreshadows the conflicts and divisions that will drive the film’s narrative forward.

Trainspotting Close-Up (Closing Sequence)

Overview

The closing sequence of Trainspotting (Danny Boyle, 1996) is a powerful and thought-provoking scene that brings the story and characters to a satisfying conclusion. It follows the character of Renton as he makes the decision to steal the money that he and his friends had intended to split evenly. Renton’s final monologue mirrors the opening “choose life” monologue, but Renton instead rejects hedonism and embraces capitalism.

Ideological Analysis: Anti-Capitalist

The closing sequence of Trainspotting serves to showcase Renton’s rejection of nihilism. Renton’s decision to steal the money represents the inevitable embrace of a capitalist system, suggesting that he is finally leaving his life of hedonism. Renton ultimately “chooses life” by taking the money for himself, realising that hedonism does not lead to true fulfilment in life. He pledges to begin living a disciplined life, stating that “I’m gonna be just like you.”. This encourages the audience to challenge their assumptions and encourage them to question the status quo.

Narrative Analysis

Renton’s final monologue mirrors the opening monologue, following a similar rhythm and cadence. This creates a sense of closure and resolution, bringing the narrative back full circle. The focus pull away from Renton at the end of the sequence reinforces this sense of closure, as he walks off into the distance and the camera moves away from him. The confessional remarks in the narration suggest that Renton has learned something from his experiences and has rejected nihilism in favor of a more practical and grounded worldview. This has the effect of providing the viewer with a sense of narrative satisfaction, as the story has reached a logical and emotionally satisfying conclusion.

Trainspotting Close-Up (“London Montage” Sequence)

Overview

The ‘London Montage’ sequence in Trainspotting (Danny Boyle, 1996) comes at a pivotal moment in the story. The montage is a rapid-cutting sequence that signals a change in time and location, signalling Renton’s move from his hometown of Edinburgh to London. This sequence serves as a visual embodiment of the film’s central themes, particularly its criticism of capitalist society. It also marks a significant turning point in the narrative, as Renton has left his old lifestyle behind and is forced to confront the realities of a new world.

Ideological Analysis: Anti-Capitalist

The ‘London Montage’ sequence is rife with examples of an anti-capitalist ideology. The use of handheld consumer-grade footage and home video footage of tourism highlights the shift from a cinematic to a more personal and everyday perspective, symbolising a break from the mainstream. This change in film stock also adds a rawness to the sequence that adds to its authenticity.

The sequence’s cliched sights of London, including Tower Bridge, ice cream, pigeons, and Piccadilly Circus, all represent the superficiality of the city’s supposed capitalist agenda. The montage serves as a visual embodiment of the “choose life” monologue, demonstrating the emptiness of consumerism and conformity. We can infer that Boyle’s intentions were to criticise capitalist society by showcasing its inherent superficiality and emptiness. The effect on the audience is profound, as it highlights the dangers of blindly following a capitalist agenda.

The sequence’s most interesting and insightful example is that it demonstrates that despite the fact that Renton has left his old lifestyle behind, he is still trapped in a similar vicious circle. Irony is created from the fact that that while Renton has escaped from the drug den, he has entered into a new realm of capitalism and consumerism by becoming an estate agent, that is just as dangerous in his eyes. This highlights the film’s themes, demonstrating that societal problems are not isolated issues but are instead interconnected. Boyle intended to illustrate that these problems are systemic and cannot be solved by a simple change of scenery. In effect, this reinforces the film’s central message of anti-capitalism, challenging them to question their values and their place in society.

Narrative Analysis

The ‘London Montage’ sequence also exemplifies the film’s narrative structure. The use of the non-diegetic compiled score, electronic dance music exemplary the 1990s, is a prime example. This score starkly juxtaposes the retro ‘70s soundtrack of the first half of the film, signalling a change in location and society.

The sequence provides a notable turning point in the film, marking the second act’s beginning. The modern metropolis of London contrasts sharply with the Scottish landscapes seen earlier in the film, representing Renton’s new life and the challenges that come with it. The use of the montage technique conveys a sense of time compression, emphasising the overwhelming speed of change in Renton’s life.

Trainspotting Close-Up (Opening Sequence)

Overview

Trainspotting (Danny Boyle, 1996) opens with a fast paced frenetic sequence, beginning in medias res. We follow our main protagonist, Mark Renton, running through the streets of Edinburgh as he and Spud are pursued by the authorities. Alongside the pair, the sequence also serves to introduce the viewer to the five main characters and establish the blistering fast pace and spirited, playful tone that pervades the film.

Ideological Analysis: Anti-Capitalist

The opening sequence of Trainspotting exemplifies the anti-capitalist ideology that the film adheres to. The non-diegetic compiled score, Lust for Life by Iggy Pop aptly represents the punk movement of the 1970s and ‘80s, which rejected the oppressive forces of capitalism and consumerism. The lyrics of the song also glorify living life to the fullest, which is accompanied by scenes Sick Boy taking heroin. The rapid editing and frenetic camerawork also reinforces the characters’ embrace of hedonism, linking to an anti-capitalist ideology.

The implementation of Renton’s non-diegetic, poetic narration is another significant aspect of the film that supports an anti-capitalist ideology. The iconic “choose life” monologue provides a counter-culture message, rejecting societal norms and expectations, and instead glorifying the characters’ alternative lifestyles. This opening scene appeals to young defiant individuals, representing the liberal zeitgeist of the 1990s. The mise-en-scène within the drug den is notably heightened and exaggerated, reinforcing the effects of drug use and addiction in a negative light, with the setting’s roots existing in British social realism. The use of colours and lighting further supports the anti-capitalist ideology by depicting the characters’ poverty and bleak existence.

Danny Boyle aptly depicts the harsh realities of life for the working-class in Edinburgh during this opening sequence, criticising the consumerist society that perpetuates drug addiction and poverty. This encourages the audience empathise with the characters’ struggles, causing the spectator to question the capitalist system that creates such inequalities.

Narrative Analysis

The opening sequence of Trainspotting exemplifies the loose, nonlinear narrative structure of the film in several ways. The use of jump cuts during the football training scenes is an example of ellipsis, which compresses time and moves the narrative forward. This contributes to the film’s breakneck pace, immersing the viewer within the hedonistic world that the characters live in. The setting of the Edinburgh streets, football pitch, and drug den are simultaneously familiar yet also provide an enigmatic, grungy aesthetic that appeals to the audience.

The narrative has a flowing quality, with no pauses between scenes, with the non-diegetic narration serving to bridge the sequences together, providing a rhythmic and expressive sequencing. The film employs an ensemble cast, with each character being interesting in their own right. Boyle employs title cards and freeze frames to introduce us to each character, also allowing the viewer a brief release from the tumultuous events being portrayed on screen. The fourth wall is also briefly broken when Renton looks at the camera through the windshield, subtly acknowledging both the driver and the viewer. Through this, narrative drive is created as the viewer is enthralled by the actions of the characters. When Renton is hit by the ball, an action match is implemented that displays him falling to the ground after smoking a cigarette. This action match creates a light-hearted juxtaposition – the exhilarating camerawork is highly appealing to view, further immersing the audience in the frenzied world of Trainspotting. Sick Boy makes reference to multiple James Bond films – a seminal hallmark of British pop culture that appeals to a British audience.

The use of expressive filmmaking techniques, such as the comically jagged wooden boards to metaphorically portray Renton’s isolation, further enhances the narrative drive of the film. The non-diegetic compiled classical score – Habanera by Georges Bizet – comically enhances Renton’s struggles. Boyle’s depiction of the working-class youth in Edinburgh enables the exploration of themes such as addiction, poverty, and the rejection of societal norms. In effect, this encourages the audience to instantly become engrossed in their stories, whilst empathising with the characters, ultimately creating a sense of emotional engagement that propels the narrative forward.

Narrative Hodge-Podge

Trainspotting (Danny Boyle, 1996)

Narrative

The narrative structure of Trainspotting (Danny Boyle, 1996) is highly unconventional, reflecting the fragmented lives of the characters and the chaos of their drug-fueled existence.

The viewer is immediately thrown into the chaos of the story, with the film beginning in medias res with a cold open. This nonlinear immersion places the viewer halfway through the story, immediately engaging them within the action. The film opens with an iconic song from the 1970s: “Lust for Life” by Iggy Pop, which captures the frenetic atmosphere of the scene. The song also serves as a defining soundtrack for the cast’s youth, immersing the viewer within the exuberant camaraderie of the characters. The opening scene takes place in a mundane, familiar British high street, providing a sense of instant familiarity for the viewer. The narrative is aided by Renton’s iconic omniscient narration, beginning with his “choose life” monologue. Renton speaks with hindsight from a retrospective viewpoint, assisting the viewer in understanding the story.

The film introduces the five main characters: Renton, Sick Boy, Begbie, Spud, and Tommy, using freeze frames and intertitles to draw the viewer’s attention to each of the main cast. Renton is characterised as a charismatic protagonist by being, thin, attractive, and verbally articulate, making him a highly appealing character to follow. Boyle employs rapid cuts between brief vignettes set in different locations, that serve to heighten the energy and pacing of the opening sequence. Motion match is also implemented, an example being when Renton falls on the football field, which is matched with Renton falling in the apartment after taking heroin, naturally connecting the different scenes together in the viewer’s mind.

In the drug den, the baby is framed within a frame in a low-angle shot, alone. This plants an enigma code in the viewer’s mind, serving to foreshadow the baby’s death later in the film. A technique typical of Danny Boyle’s involves keeping the camera in constant motion, contributing to the frantic pace of the narrative. The squalid atmosphere of the den is juxtaposed with frenetic, playful pacing. The non-diegetic compiled score also reinforces the narrative drive, such as when “Lust for Life” continues to play while Sick Boy discusses the pleasure of taking heroin.

The film’s dialogue is notably comedic in nature, despite the fact that it deals with serious subject matter. The screenplay also has a poetic quality, taking a joy in figurative language, linking back to Irvine Welsh’s source material. The images also serve to support the narration, an example being when the sudden cut to Begbie dismissing drugs, which is playfully ironic due to the fact that he is seen to drink and smoke. As the soundtrack dissipates, the diegetic ambience of the dialogue rises. At this point, the narrative is conveyed in a much more traditional manner during the scene when Mark attempts to get “off the skag”, maintaining a constant flow between diegetic and non-diegetic narrative drive.

Boyle implements figurative filmmaking techniques during the scene when Mark locks himself away in his room. Utilising exaggerated mise-en-scène such as when Renton nails the wood to the door in a cross shape, Boyle draws upon familiar cartoon imagery to reinforce Renton’s isolation. Georges Bizet’s famous Habanera aria to create a sense of irony by utilising this piece of non-diegetic classical music in a comical fashion.

Boyle uses the intertitle “the worst toilet in Scotland” to introduce us to a surrealist sequence. This use of an intertitle is notably unorthodox and risky, as it has the potential to disrupt the flow of the film. However, the intertitle suits the light-hearted tone of the film, and allows for a brief interlude from the film’s blistering pace. The toilet itself is theatrically repulsive, expressively displaying Renton’s distraught state of mind – the non-diegetic Habanera piece also re-enters at this point. We then enter a highly surreal sequence in which Renton dives into the toilet and swims into the depths, in search of his suppositories. Brian Eno’s non-diegetic compiled score, Deep Blue Day, bolsters the expressive embellishment of Renton’s psyche.

During the park scene, the audience is positioned to support Renton and Sick Boy, as they are framed in closeup, while everyone else in the park is framed in a wide shot. Jarring editing is employed during Spud’s interview between wide and long shots, creating a sense of disorientation to heighten the chaos of the interview. In the pub, the freeze frame of Begbie concentrates the viewer on the importance of the moment, reinforcing it as a defining moment in Begbie’s characterisation. The narration also assists the narrative during this point, initiating the story of Renton stealing the videotape as Tommy recounts his viewpoint of Begbie’s violent interaction during the pool game. Each sequence naturally flows into the next, with significant use of ellipsis, time manipulation, and temporal editing implemented to achieve this.

The interior of the rave is reminiscent of A Clockwork Orange’s (Stanley Kubrick, 1971) milk bar, being an example of postmodernism that links to the stylistic aesthetic of the film. The use of subtitles burned onto the screen during Tommy and Renton’s conversation highlights the importance of the poetic dialogue that must be heard in order to comprehend the film. The only correctly capitalised word is Iggy Pop – highlighting his importance to the characters. Trainspotting also briefly draws on postmodernism during this scene, with a Taxi Driver poster behind Renton, and an introduction to Diane that is reminiscent of Ilsa’s introduction in Casablanca (Michael Curtiz, 1942). During Diane’s dialogue, there is a juxtaposition between the poetic literary dialogue and the reality of the situation, which adds a layer of artifice on top of reality.

The film features parallel editing during a sequence which details each of the three men’s sexual encounters, with visceral depictions of each. The mountain interlude sedates the pace of the film, during which traditional camerawork is employed. Afterwards, we return to the drug den during which the scene is cut in time with the non-diegetic compiled score. The film’s stylised, choreographed movements and blocking during the scene where the characters beat up an American man is an example of expressive filmmaking.

During the scene when Alison discovers the dead baby, the score lowers in the mix as her diegetic screaming enters the mix, alongside the implementation of a blue colour palette that reinforces the seriousness of the situation. The baby’s death marks a turning point in the tone of the film – it signals the decline of hedonism.

A particularly memorable scene in the film is Renton’s final hit, which leads him to overdose. The scene is filmed with tight closeups that are created as the camera pushes in towards Renton, creating a sense of anticipation and claustrophobia. The viewer is forced to watch the graphic intravenous procedure of a heroin injection, which is uncomfortable yet compelling. This scene sparked controversy with the British Board of Film Classification (BBFC) due to the fact that this scene could be argued to convey instructional heroin usage, leading to a debate about the film’s intentions. In response, Boyle argued that the film did not glorify the use of drugs at all, instead deterring audiences from taking such dangerous substances.

Renton sinking into the carpet after overdosing on heroin is an example of expressive filmmaking, embellishing the effects the drugs are taking. Irony is created with the implementation of the non-diegetic compiled score – Lou Reed’s “Perfect Day,” which simultaneously references Sick Boy’s mention of Reed’s solo career earlier in the film. The overdose sequence is also a masterclass in surrealist filmmaking. The otherworldly imagery is heightened and hyperbolised, making the viewer feel like they are experiencing Renton’s trip alongside him. The perspective shift makes Renton’s room feel impossibly long, adding to the disorienting effect of the sequence. This is a masterful example of how Trainspotting uses narrative to convey a character’s distraught mental state.

The London montage serves the purpose of conveying a shift in location. The montage shows stereotypical images of London, such as red buses, black taxis, policemen, tourists, ice creams, and the Piccadilly Circus sign. The upbeat electronic dance music represents the contemporary music of the ‘90s, juxtaposing the retro soundtrack of the earlier portion of the film, thus conveying a shift in lifestyle. As we are introduced to Renton’s new abode, the lyrics of the song “Mile End” by Pulp is reflect the images on screen, creating a sense of unity between the visual and aural elements of the film. This is a powerful way of conveying narrative and emotion simultaneously, propelling the film’s narrative drive through the use of carefully selected non-diegetic composed score.

Ideology

Trainspotting is also notable for its ideological substance, which can be best underpinned by the characters’ anti-capitalist attitudes. Renton’s opening “choose life” monologue serves to establish the film’s anti-capitalist ideology, in which Renton mocks the Scottish anti-drug mantra, establishing an inherent rejection of middle-class aspirations and ideals. Renton’s famous line “I chose something else. And the reasons? There are no reasons.” exemplifies this rejection of standard life choices and the embrace of unorthodox, hedonistic means – a central theme of the film. Renton’s monologue in the mountains about being Scottish also exemplifies a nihilist ideology that rejects any sense of national or cultural identity.

However, as the film progresses, Renton ultimately ends up embracing capitalist ideals. This is a commentary on how even those who reject mainstream ideals and try to live outside the system can ultimately be pulled back in. The ending sequence of the film displays the opening monologue coming full circle, with Renton embracing a capitalist ideology, “choosing life” by taking the money for himself. Ultimately, Renton realises that hedonism does not lead to true fulfilment in life, with Renton pledging to begin living a disciplined life, stating that “I’m gonna be just like you.”

This is England (Shane Meadows, 2007)

Narrative

The opening sequence of the film greatly contrasts that of Trainspotting’s – a highly edited, fast paced chase sequence beginning in medias res. This is England instead opens with a montage that displays news and current affairs of the 1980s. This use of archival footage establishes the time, place, and mood, aptly rooting the story in the time period. The first clip is of Roland Rat, the children’s mascot of Channel 4, being representative of a diverse variety of niches that were growing in notoriety on television. The montage also includes imagery that displays seminal hallmarks of the 1980s, including Rubik’s cubes, computers, CDs, Knight Rider, and space raiders. In addition, the footage highlights societal conflicts including miner strikes, far-right marches, National Front activities and the Falkland Islands war. The houses that are displayed in Shaun’s town are emblematic of the new housing scheme that the British government devised after homes were destroyed in the wake of WW2. The impoverished state of living resulted in replacing the slums with modern housing, leading to a rise in ‘council estates’.

The film largely follows a linear structure, meaning that the plot and story run in parallel. This narrative structure allows Meadows to compress time using ellipses thorough the use of montage, initially used to showcase the mundane aspects of Shaun’s life – bike riding, car cleaning, catapulting, etc. This characterises Shaun as a young boy who seeks a sense of belonging and acceptance. We are then introduced to the skinheads who take Shaun under their wing, acting as a surrogate family for him, most notably Woody serving as a father figure. Shane Meadows subverts the viewers’ preconceptions of skinhead culture by portraying the group as innocent and friendly through the use of montage – activities such as jumping in puddles and swimming develop the camaraderie between Shaun and the skinheads.

However, the narrative undergoes a pivotal turning point during Combo’s introduction – the definitive antagonist who shares parallels with Begbie from Trainspotting. Combo’s racist ideologies are hinted at during his recount of a prison story, during which the highly manipulative non-diegetic piano score by Ludovico Einaudi is implemented to create a sense of discomfort and unease. The camera is also tightly focused in a closeup on Combo’s face, reinforcing this. This scene marks the film’s first head-on confrontation with racism, with Combo’s unflinching use of racial epithets being dually repulsive and threatening. Combo is further characterised as a three-dimensional antagonist with a subtextual backstory being alluded to at points throughout the film. He is a tragic victim of 1980s society, having been given a prison tern at a young age, hoping for reconciliation with Lol after his release.

The film’s climax centres around the confrontation between Combo and Milky, highlighting the racial violence and emotional weight the film has been building towards. The confrontation arises due to Combo being angered by Milky’s alleged privileges over him, with Einaudi’s manipulative score being implemented once again to bolster the emotional weight of the scene. The violence is raw and unflinching, despite not being particularly gory. The camera also does note cut away from the violence, forcing the viewer to confront Combo’s repugnant actions.

The montage of newsreel footage at the end of the film mirrors the opening sequence. The footage displays the soldiers’ return at the end of the Falklands war, highlighting the film’s themes of belonging, violence and societal change.

Ideology

This is England is a film highly concerned with ideological underpinnings, most notably that of an anti-nationalist focus. The opening montage made up of archival footage draws particular attention to the Margaret Thatcher government and the rise of far-right politics in England. This included groups such as the National Front, a political party known for its racist rhetoric and violent actions, briefly displayed in the opening montage. The montage also showcases working-class resentment towards Thatcher and her controversial policies, involving the embrace of capitalism and shutting down coal mines. The montage’s display of the Iranian embassy hostage crisis and the British government’s decision to send in the SAS highlights the brutality of the time period.

The film’s portrayal of skinhead culture also closely links to its anti-capitalist agenda. The skinhead movement initially had its roots in African American culture – particularly through the movement’s shared interest in reggae and soul music. However, the film depicts how the movement was gradually infected by nationalism and racist, stemming from impoverished people who scapegoated foreigners for the poverty-stricken society of the 1980s.

This idea is primary explored through the character of Combo, whose sinister ideals are slowly revealed to the viewer during his recount of a prison story. He later indoctrinates Shaun under his command, radicalising his views to match his own nationalist agenda. His extremist views also create a rift within the skinhead group, driving Woody, Lol, and Milky away. These three represent the inclusive skinhead movement, banding together due to shared cultural interests. The film also distinguishes the fine line between political viewpoints and racially-driven hatred, as many viewers will unwillingly resonate with Combo’s monologue about Thatcherist policies. Combo instead assigns the blame towards foreigners as an easy scapegoat.

During the closing sequence, Shane Meadows subtly questions the value of patriotism and the cost of human lives during the display of the end of the Falklands War. The montage of archival footage showcases the prisoners of war appearing to be unarmed and untrained, raising questions about the true value of warfare victory. The film’s final scene perhaps best underpins a rejection of nationalism when Shaun throws the England flag, Saint George’s Cross, into the sea. This symbolically highlights Shaun’s rejection of a nationalist ideology.

Component 1c: British Film Since 1995

The final component we are studying is Component 1c: British Film Since 1995. This section of the course entails two films of study, Trainspotting (Danny Boyle, 1996), and This is England (Shane Meadows, 2007). Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two specialist study areas that have been previously studied– Ideology and Narrative. This component also involves a direct comparison between the two studied films, akin to Component 1a and 1b.

Component 1b: US Film Since 2005 (Ideology)

How valuable has ideological analysis been in developing your understanding of the themes of your chosen films?
Sample Assessment Materials

Plan:

Introduction

Ideological analysis is a critical viewpoint that has served to be invaluable in the thematic comprehension of both Winter’s Bone (Debra Granik, 2010) and No Country For Old Men (Joel and Ethan Coen, 2007). Viewing Winter’s Bone through the lens of a feminist ideology allows for the examination of how women are oppressed within a male-dominated patriarchy. A feminist lens reveals the film’s implicit messages concerning gender, and how it affects social power dynamics. Conversely, viewing No Country For Old Men through a nihilistic ideological viewpoint has allowed for a broader understanding of its enigmatic themes presented over the course of the film. The film’s antagonist, Anton Chigurh, is the film’s primary embodiment of nihilism – he rejects traditional morals and is instead driven by the meaninglessness of human existence.

Body

Winter’s Bone – feminist ideological analysis is the best approach

Ree’s competence – attending to maternal and paternal duties (chopping wood and cooking)
Bechdel test, male gaze, non-sexualising clothing
Androgynous children appearances – Ashlee wishes to hunt, Sonny is squeamish
Poverty expressed through mise-en-scène
Ree’s interactions with men – Teardrop, sheriff, Thump Milton, etc.
Overwhelming male domination of cattle market – incomprehensible dialogue. Sickening yellow palette, steely blue palette of herding location
Squirrel dream sequence – 4:3, grainy handheld footage, dreamy. Chainsaw symbolic representation of the patriarchy, squirrel is the oppressed women
Narrative resolution solved through female discussion and cooperation

No Country For Old Men – nihilistic ideological approach

Barren landscapes of Texas reflect nihilism
Ed Tom monologue at start. Ed Tom and Ellis dialogue about senseless violence
Anton’s brutal murders. Leaving victims’ fates up to a coin flip. Petrol station owner and Carla Jean
Llewelyn – no empathy towards man begging for water. Takes money briefcase McGuffin, nihilist causality. Sudden offscreen death.
Ed Tom dreams

Conclusion

Ultimately, the meanings of both Winter’s Bone and No Country For Old Men are vastly enriched when taking particular ideological analysis into account. Viewing Winter’s Bone through a feminist lens allows for an astute appreciation of Granik’s implicit “feminist film about an anti-feminist world”. Taking the ideological viewpoint of nihilism for No Country For Old Men, on the other hand, enables the Coen Brothers’ ambiguous thematic substance to be unravelled, ultimately resulting in a deeper appreciation of the film.

Essay – Version 1

When choosing to view the opening sequence of Winter’s Bone through the lens of a feminist ideology, a critical framework rooted in analysing how women are oppressed throughout film, it becomes clear that the protagonist, Ree, is a symbol of feminism and female empowerment. She competently attends to an array of domestic tasks throughout the sequence, such as chopping wood and cooking. This indicates that Ree does not conform to typical gender roles typically presented throughout the Hollywood landscape, performing duties that are stereotypically considered both maternal and paternal. This is accentuated through Ree’s baggy non-gendered clothing – she is not sexualised in any way throughout the film, nonconforming to the ‘male gaze’ that permeates Hollywood.

Similarly, Ree’s siblings Ashlee and Sonny have notably androgynous appearances, implying that gender does not factor into how these children are to be nurtured by Ree. In fact, Granik actively subverts gender stereotypes during the ‘squirrel gutting’ sequence, during which Ashlee displays a desire to hunt animals, whereas Sonny appears to be much more squeamish and reluctant. This subtle subversion of gender stereotypes serves to reinforce the feminist ideology that the film adheres to, deepening the understanding that can be extracted from it. An interesting role reversal also occurs when Ree combs her mother’s hair later in the sequence, a typical action performed by a mother to her daughter. This emphasises the multi-faceted familial duties that Ree is burdened with attending to. The film also passes the Bechdel test numerous times during the opening minutes of the film, with the interaction between Ree and Sonja concerning a horse perhaps best exemplifying the feminist ideology conveyed by the film.

Ree can be seen standing her ground against the male characters that attempt to hinder her goals, such as the sheriff in the opening sequence who informs her that her house is to be sold for her father’s bond. She addresses the sheriff with confident remarks such as “I’ll find him”, highlighting the difficulty she faces within an oppressive, patriarchal society. Ree displays a similar level of defiance and empowerment towards her uncle Teardrop, who represents the oppressive toxic masculinity that pervades the Ozarks. A focus pull is implemented to draw our attention towards him as he edges closer to Ree. Teardrop’s appearance is notably scruffy and ragged, displaying the impoverished state of the Ozarks. A simple shot/reverse shot sequence is employed throughout this scene, as opposed to a low/high angle shot alternation. This indicates that the power dynamic between Ree and Teardrop is equal, aligning with the feminist ideology the film adheres to. After Teardrop informs Ree of Jessop’s car being burned, her expression remains stoic, emphasising Ree’s resilience she has garnered after becoming the family’s primary caregiver.

During the ‘cattle market’ sequence, the oppressive patriarchy is symbolically conveyed through the use of an overwhelming soundscape. The diegetic sound of the unintelligible language of the auction dominates the sound mix, serving to reinforce the idea that the masculine world is incomprehensible to Ree, emphasising the power dynamic between her and the men. The cow at the center of the scene appears frightened, its life dependent on the mercy of the men, further reinforcing the domineering force that the men exert. The men are also all white and middle aged, reinforcing the homogenous patriarchal hive mind the men represent.

A standout sequence of Winter’s Bone is the ‘squirrel dream’ sequence, during which Granik employs unorthodox filmmaking techniques to reinforce the female oppression presented throughout the film. Using a cheap handheld camera, black and white, alongside a 4:3 aspect ratio to create an otherworldly atmosphere, the squirrel in the sequence is a perhaps a metaphorical embodiment of Ree, with both being victims of a disrupted equilibrium. The danger faced by the squirrel is displayed through its shuddering fear, captured through the camera’s rapid and disorienting movements. A jarring diegetic chainsaw sound promptly enters the mix, perhaps being representative of the oppressive patriarchy that endangers Ree’s peaceful existence. A worms-eye-view shot of the trees is used, displaying the squirrel, and by extension, Ree, as dwarfed, emphasizing her vulnerability within an oppressive patriarchal society – a notion that can only be extracted when viewing the film through a feminist ideology.

Although No Country For Old Men could be viewed through a feminist ideological lens, it would perhaps be more insightful to analyse the film through the ideological viewpoint of nihilism. This involves considering the viewpoint that denies the existence of any inherent meaning or value in human life, instead emphasising the absurdity of existence.

The film’s opening sequence begins with a series of bleak yet breathtaking aerial wide shots of the landscape of West Texas. These barren shots serve to establish the inexplicability and meaninglessness of humanity, conveyed through the implied absence of human activity alongside the desolation of the terrain. The landscape is stark and unforgiving, with no signs of life or hope, reinforcing the film’s nihilistic worldview. The imagery is suggestive of the fact that the world is a cold and indifferent place, where human existence is inconsequential.

The opening sequence of the film also introduces the viewer to Llewelyn Moss, the main protagonist. Throughout the sequence, he is often filmed from extreme long shots to reinforce the desolate, unwelcoming landscape. He soon stumbles upon a drug deal gone wrong, after which he remains stoic and unfazed towards the array of dead bodies. Llewelyn also shows no empathy towards the dying man begging for water, implying that he has been desensitised to human suffering – a hallmark of a nihilism. After locating a briefcase full of money, the film’s determinist chain of events are set in motion – Llewelyn’s fate is sealed from the beginning, reinforcing the nihilistic ideology that the film adheres to. Llewelyn’s choice to take the money is indicative of his disregard for traditional morals and societal norms.

Nihilism is perhaps best exemplified through the character of Anton Chigurh, a ruthless hitman driven purely by his belief in the futility of humanity. In the opening sequence, the viewer is introduced to Anton committing two brutal murders in sequence. The first is using a pair of handcuffs, during which a series of birds-eye-view and mid shots display Anton’s senselessly graphic violence, which emphasises his disregard towards human existence. This also acts in stark juxtaposition to the aforementioned pensive opening scene of the film. The second murder involves Anton duping a truck driver into believing he is a policeman before killing him with a highly unconventional weapon: a cattle gun, suggesting that he views humans as mere animals whose existence is futile. He displays no remorse towards extinguishing two human lives in quick succession, reinforcing his character as a symbol of nihilism.

Anton’s flippant attitude towards human existence is perhaps best underpinned by the symbolism that can be inferred through his decision to let his victims decide their fate through a coin flip at multiple points throughout the film. Anton leaves a perfectly innocent man’s fate up to a 50/50 chance, during the ‘call it, friend-o’ sequence, reinforcing his nihilistic belief that human life is meaningless and arbitrary. During the scene, the Coens employ a tight shot/reverse shot sequence throughout, during which the camera gradually pushes in towards the two, further increasing the suspense. After the owner argues that he didn’t put anything up to win on the coin flip, Anton informs the man that “you’ve been putting it up your whole life, you just didn’t know it”, suggesting that the end of the man’s meaningless existence has already been decided.

Sheriff Ed Tom Bell’s opening monologue acts as a perfect introduce to his disillusionment with the nihilism that plagues society. Throughout the monologue, he reminisces upon the senseless crimes that he has dealt with throughout his career, reflecting upon the violence that pervades Texas. He notes that a man who killed a 14-year-old girl told him that “there wasn’t any passion to it” and that “he’d do it again” if they let him out. This serves to reinforce the nihilism towards human existence that dominates the conscience of the region – the sheriff’s disillusionment towards his own traditional beliefs is perhaps reflective of the broader disillusionment that society bears towards the moralistic status quo. The opening monologue sets into motion Ed Tom’s final decision to retire during the film’s closing sequence. A conversation between Ed Tom and his uncle Ellis reveals that the violence stemming from nihilism that permeates the state has ultimately caused Ed Tom to abandon his sense of justice, and retire. When commenting on the violence, Ellis notes that “what you got ain’t nothing new. This country is hard on people. You can’t stop what’s coming”, implying that the atrocities committed by humankind transcend generation, but have instead taken a new form – nihilism. The film’s title even implies that there is no place for “old men” in today’s society – traditional morals are now devoid of any meaning. This analytical viewpoint is indicative of the nuanced meanings that can be extracted from ideological critical analysis.

Ultimately, the meanings of both Winter’s Bone and No Country For Old Men are vastly enriched when taking particular ideological analysis into account. Viewing Winter’s Bone through a feminist lens allows for an astute appreciation of Granik’s implicitly “feminist film about an anti-feminist world”. Taking the ideological viewpoint of nihilism for No Country For Old Men, on the other hand, enables the Coen brothers’ ambiguous thematic substance to be unravelled, ultimately resulting in a deeper appreciation of the film.

No Country For Old Men Close-Up (Closing Sequence)

Overview

The closing sequence of No Country For Old Men begins with Sheriff Ed Tom Bell conversing with his uncle Ellis, during which aging and violence, after which Ed Tom informs Ellis that he plans to retire as he has become so disillusioned by the recent violence that has plagued the state of Texas.

Afterwards, we cut to a gravestone of Carla Jean’s mother being lowered into the ground, reinforcing the inevitability of death. Carla soon returns home only to be greeted by Anton Chigurh sitting in her living room. As with the petrol station owner, Anton gives Carla a chance to decide her fate by flipping the coin. After she refuses, the viewer is not directly shown the outcome, but we are able to infer that Anton killed Carla after witnessing Anton checking his shoes for blood, an action the viewer has borne witness to at multiple points throughout the film. Afterwards, a car abruptly crashes into Anton’s at an intersection, significantly wounding him. Anton promptly bribes two young boys for their silence and flees.

In retirement, Ed Tom shares two dreams with his wife. In the first, he describes how he lost some money his father had given him. In the other, he and his father were riding through the mountains, after which his father had gone ahead to make a fire in the darkness, awaiting Ed Tom’s arrival.

Ideological Analysis: Nihilism

Ed Tom and Ellis’ conversation reveals that the violence stemming from nihilism that permeates the state has ultimately caused Ed Tom to retire. The film’s title even implies that there is no place for “old men” in society – traditional morals are now devoid of any meaning.

“What you got ain’t nothing new. This country is hard on people. You can’t stop what’s coming.”
Ed Tom’s uncle Ellis remarks upon the inevitable demise of humanity, referring to it as “what’s coming”. The atrocities committed by humankind transcend generation, but instead take a new form – nihilism.

The symbol of Carla Jean’s mother’s gravestone reinforces the fragility and futility of humanity. Anton’s implied decision to kill Carla Jean stems from his nihilistic attitude towards human existence. As she did not let the coin decide her fate, Anton decides to end her life purely due to his belief in the insignificance of human life. Carla remarks that Anton is “crazy”, suggesting that his nihilistic principles are unfathomable.

“I got here the same way the coin did”
Anton remarks upon the chain of causality that brought him to Carla Jean is the same that brought the coin.

The film’s final scene displays the despair of nihilism in a subtly chilling manner. Ed Tom notes in his dream monologue that he appeared to be older than his father, reinforcing the idea of mortality and age. His father riding ahead of him into unknown territory perhaps represents the inevitable void of death that Ed Tom will ultimately concede to, expressing that he will eventually follow his father into this unknown territory. Ed Tom’s resignation about his impending death serves to juxtapose Anton’s nihilistic ideology towards the supposed meaninglessness of human existence.

*Sheriff Ed Tom Bell recalls his dreams to his wife*

No Country For Old Men Close-Up (“What’s Coming” Sequence)

Overview

The “What’s Coming” sequence is a highly subversive and abrupt scene that reinforces the film’s nihilist ideology. The film’s main protagonist, Llewelyn Moss, is killed off-screen by Mexicans – a threat that has most likely been long forgotten in the mind of the viewer. The sequence reinforces the randomness and arbitrary nature of human existence.

Ideological Analysis: Nihilism

The sequence opens with a seemingly mundane and innocuous conversation between Llewelyn and a woman sitting in a pool. The scene abruptly fades to black, before we cut to Sheriff Ed Tom Bell’s point of view. The Coens’ employ a POV shot of the sheriff running towards the crime during which camera shake is employed to heighten the tension. Ed Tom, however, is too late – the inevitable causality of death has already taken effect. The fact that Llewelyn is killed in such an unheroic manner by a group of characters we have never been introduced to serves to reinforce the meaninglessness and inexplicability of nihilism. Ed Tom looks down upon Llewelyn’s body with pity, emphasising his disillusionment towards the futility and fragility of human existence.

*Llewelyn is killed off-screen by an unknown group of Mexican assailants*

No Country For Old Men Close-Up (“Call It, Friend-o” Sequence)

Overview

The “Call It, Friend-o” sequence in No Country For Old Men is a subtly powerful scene that is exemplary of the film’s nihilist ideology. The viewer witnesses Anton Chigurh, the film’s primary symbol of nihilism, visit a petrol station and engage in conversation with the owner. The conversation soon arrives at the subject of fate and chance, before Anton pulls out a coin that’s been “travelling 22 years to get here” in his words, giving the owner a chance to determine whether he lives or dies. Although this sequence does not serve to progress the film’s plot in any regard, it is a critical scene that perhaps best represents the film’s nihilist ideology.

Ideological Analysis: Nihilism

Anton Chigurh’s flippant attitude towards human existence is perhaps best underpinned by the symbolism that can be inferred through the coin flip. Anton leaves a perfectly innocent man’s fate up to a 50/50 chance, reinforcing his nihilistic belief that human life is meaningless and arbitrary. After the owner argues that he didn’t put anything up to win on the coin flip, Anton informs the man that “you’ve been putting it up your whole life, you just didn’t know it”, suggesting that the end of the man’s meaningless existence has already been decided.

The scene’s soundscape is almost entirely diegetic, being made up of the two men’s dialogue. However, Burwell’s subtle non-diegetic score briefly enters the mix, heightening the tension that continues to build over the course of the scene. The Coens’ employ a tight shot/reverse shot sequence throughout, during which the camera gradually pushes in towards the two, further increasing the suspense.

The scene ultimately subverts the viewer’s expectations after Anton lets the man live after he correctly calls the coin, coldly informing him “well done”. Ultimately, the fact of whether the man lived or died has no bearing on the events of the film, but instead elicits the viewer to question their own moral code and views towards existence.

*Anton flips the coin to decide the petrol station owner’s fate*

No Country For Old Men Close-Up (Opening Sequence)

Overview

The opening sequence of No Country For Old Men establishes the film’s setting and three main characters, beginning with a narrated monologue by Sheriff Ed Tom Bell which accompanies a series of bleak stills of Texas. We are then introduced to Anton Chigurh, who brutally murders a policeman with a pair of handcuffs in his first scene. Afterwards, we follow Llewelyn Moss, a man who stumbles upon a drug deal gone wrong – finding a brief case containing $2 million. The sequence serves to establish the bleak, nihilistic tone that pervades the film, introducing the viewer to the gritty world inhabited by the characters. Viewing the sequence through the lens of a nihilistic ideological approach, the opening sequence could be considered a commentary on the futility of human existence.

Ideological Analysis: Nihilism

The opening sequence begins with a series of bleak yet breathtaking aerial wide shots of the landscape of West Texas. These barren shots serve to establish the inexplicability and meaninglessness of humanity. The absence of human activity and the desolation of the terrain reinforce the film’s nihilistic worldview. The landscape is stark and unforgiving, with no signs of life or hope. This imagery suggests that the world is a cold and indifferent place, where human existence is inconsequential.

The shots are accompanied by a monologue narrated by Sheriff Ed Tom Bell, in which he reminisces upon the senseless crimes that he has dealt with throughout his career, reflecting upon the violence that permeates the world. He notes that a man who killed a 14-year-old girl told him that “there wasn’t any passion to it” and that “he’d do it again” if they let him out. This serves to reinforce the nihilism towards human existence that dominates the conscience of the region. The sheriff’s disillusionment towards his own traditional beliefs reflects the broader disillusionment of society towards the status quo.

*The barren landscapes in the opening sequence reinforce the unforgiving, desolate world in which the film is set*

“I was Sheriff of this county when I was 25 years old. Hard to believe. My grandfather was a lawman, father too. Me and him was sheriffs at the same time, him up in Plano and me out here. I think he’s pretty proud of that. I know I was. Some of the old time Sheriffs never even wore a gun. A lotta folks find that hard to believe. Jim Scarborough never carried one. That’s the younger Jim. Gaston Borkins wouldn’t wear one up in Comanche County. I always liked to hear about the old-timers. Never missed a chance to do so. You can’t help but compare yourself against the old-timers. Can’t help but wonder how they’d have operated in these times. There was this boy I sent to the electric chair at Huntsville here awhile back, my arrest and my testimony. He killed a 14 year-old girl. Papers said it was a crime of passion but he told me there wasn’t any passion to it. Told me that he’d been plannin’ to kill somebody for about as long as he could remember. Said that if they turned him out, he’d do it again. Said he knew he was going to hell, be there in about fifteen minutes. I don’t know what to make of that. I surely don’t. The crime you see now, it’s hard to even take its measure. It’s not that I’m afraid of it. I always knew you had to be willin’ to die to even do this job. but I don’t want to push my chips forward and go out and meet somethin’ I don’t understand. A man would have to put his soul at hazard. He’d have to say: ‘Okay, I’ll be part of this world.’”
Sheriff Ed Tom Bell’s opening monologue

Afterwards, we are introduced to the character of Anton Chigurh – a ruthless hitman – who has just been arrested. A series of birds-eye-view and mid closeups display Anton mercilessly strangling the policeman that arrested him with a pair of handcuffs. This display of graphic violence reinforces Anton’s disregard towards human existence, also acting in stark juxtaposition to the pensive opening scene of the film. We then immediately bear witness to a second murder committed by Anton, in which he dupes a truck driver into believing he is a policeman before killing him with a highly unconventional weapon: a cattle gun, suggesting that he views humans as mere animals whose existence is futile. He displays no remorse towards extinguishing two human lives in quick succession, reinforcing his character as a symbol of nihilism.

*Anton Chigurh is displayed performing two merciless murders in the opening sequence, reinforcing his nihilistic ideology*

The final portion of the opening sequence introduces us to the film’s heroic protagonist, Llewelyn Moss. These scenes are also pensive, with dialogue sparsely implemented to reinforce the barrenness of the setting. Moss is also often filmed from extreme long shots to further reinforce this.

He soon stumbles upon the drug deal gone wrong, after which he remains stoic and unfazed towards the array of dead bodies. He shows no empathy towards the dying man begging for water, implying that he has been desensitised to human suffering – a hallmark of a nihilism.

After locating the briefcase full of money, the film’s determinist chain of events are set in motion – Llewelyn’s fate is sealed from the beginning, reinforcing the nihilistic ideology that the film adheres to. Llewelyn’s choice to take the money is indicative of his disregard for traditional morals and societal norms.

*Llewelyn discovers the money-filled briefcase, the McGuffin that allows the events of the film to be set in motion*

Ideology Brainstormed

Winter’s Bone (Debra Granik, 2010) is a film that distinctly adheres to a feminist ideology. Feminism is an ideological approach that seeks to critique how women are represented throughout film, examining the oppression women face by a dogmatically patriarchal society. Applying a feminist ideological approach to Winter’s Bone reveals the film’s underlying message concerning gender and how it affects power dynamics within society.

Throughout the film, the role of women within a patriarchal, impoverished society is explored. The film’s protagonist, Ree, defies the expectations of women within a male-dominated society. She provides for her siblings and catatonic mother, whilst also uncovering the mystery of her father in order to protect her home. Ree performs actions that typically associated with both maternal and paternal duties, such as cooking, nurturing, alongside tree chopping and hunting.

Ree’s uncle, Teardrop, serves to represent the toxic masculinity that exists with the patriarchal community that pervades the Ozarks. He initially serves as a hostile force inhibiting Ree’s quest to find her father, but gradually begins to support her actions as the film progresses.

Conversely, No Country For Old Men (Ethan and Joel Coen, 2007) is an ideologically ambiguous film that can be viewed through a plethora of ideological approaches. My chosen ideological approach to view the film through is nihilism.

Applying a nihilistic approach involves considering the viewpoint that denies the existence of any inherent meaning or value in life, instead emphasising the absurdity of existence. Nihilism holds that traditional moral values, religious beliefs and social norms are mere illusions that mask the fundamental emptiness of existence. No Country For Old Men explores this idea in a variety of ways throughout the film.

The film’s primary antagonist, Anton Chigurh, is the film’s embodiment of nihilism. His motivations and philosophies are notably enigmatic, rejecting traditional moral values and inferably believing instead in the inherent meaningless of human existence. He acts indifferently to human life, being a hitman who kills without remorse or emotion, often letting the roll of a coin determine the fate of his victims. Chigurh’s worldview presented throughout the film ultimately reflects a fundamental belief in the meaningless of existence, with his repugnant actions being justified by his conviction in the fact that he believes nothing in life has inherent value or worth.

Another of the three primary characters, Sheriff Ed Tom Bell, serves to juxtapose Chigurh’s nihilistic ideology. He holds a strong moral code based upon his traditional values concerning the importance of human life. Bell’s strong morals are challenged by the seemingly senseless and inexplicable violence that pervades Texas.

The setting of the film itself, the barren and desolate landscapes of the film serve to reinforce the theme of nihilism. The desolation represents the absence of life and meaning within the world. It also highlights Chigurh’s belief in the futility of human endeavour and the insignificance of human existence. The Coens’ decision to implement a mere 16 minutes of non-diegetic composed score throughout the film also serves to accentuate this idea.

*A mind map of potential ideologies to take into account when analysing No Country For Old Men*

Winter’s Bone Close-Up (Closing Sequence)

Overview

The closing sequence of Winter’s Bone (Debra Granik, 2010) is a powerful yet subdued finale that harkens home the feminist ideology that pervades the film. Ree must perform the horrific act of cutting off her dead father’s hands which will serve as proof of his death. After taking the hands to the sheriff, Ree receives the money portion of her father’s bond. Teardrop visits the family one last timing, informing Ree that he knows who killed Jessop. The sequence and film ends with Ree, Ashlee, and Sonny sitting on the porch of their home, during which Ree reassures her siblings that she will always be there to support them.

*The final shot of the film – Ree stares wistfully into the distance as Sonny looks to her for support. Ashlee plays the banjo, gifted to her by Teardrop*

Key Elements, Context, and Representation

Throughout the film, Ree’s struggle against problems forced upon her by a patriarchal society is a central theme, and this is resolved through her ingenuity and resourcefulness. The only help that is offered to Ree is from the women in the community, further emphasising the feminist ideology of the film, as the men are portrayed as the root of all of the problems that Ree encounters. The narrative resolution of the film is highly unconventional, as the conflict is resolved through cooperation and discussion, rather than a typical violent ‘showdown’ that might occur in a stereotypical Hollywood flick. This unexpected narrative resolution subverts the conventions of a male-driven society, highlighting the idea that problems can be solved through trust and selfless actions. The entire narrative resolution is also female-oriented, reinforcing the feminist ideology of the film.

As Ree cuts off Jessop’s hands, he is ironically objectified, as he only exists as a corpse, subverting the typical male gaze and objectification of women throughout Hollywood. Ree is asked to perform a highly repugnant action, cutting off her father’s hands, but she rises to the challenge and overcomes it, further conveying the notion of female empowerment. During the scene in which Ree delivers Jessop’s hands to the police, the sheriff is ironically repulsed by the hands, but Ree is not, reinforcing the film’s feminist ideology. Ree also possesses leverage over the sheriff as he did not arrest Teardrop earlier in the film, which also contributes to this.

During the final scene, Teardrop gifts two chicks to the children, passing down the responsibility of parenthood. He also tells Ree that he knows who killed Jessop, implying that he is now fuelled by toxic masculinity in order to take action and seek revenge upon his brother. This highlights the idea that Teardrop’s misguided sense of loyalty is a negative force, and that it is ultimately through the actions of women that the problems in the film are resolved. In conclusion, the closing sequence is a poignant resolution to Ree’s story, subverting the typical narrative conventions of the finale of a typical Hollywood film.

Winter’s Bone Close-Up (“Cattle Market” Sequence)

Overview

The “cattle market” sequence in Winter’s Bone (Debra Granik, 2010) serves as a poignant representation of the film’s feminist ideology. We witness a cattle auction, which highlights the patriarchal and oppressive nature of the Ozarkian society. The sequence demonstrates the stark contrast between Ree’s world and the world of the oppressive men in power, through visual and auditory elements.

Key Elements, Context, and Representation

The scene takes place in an entirely male-dominated space, where the men possess the power of life and death over the cattle they are auctioning. The diegetic sound of the unintelligible language of the auction dominates the sound mix, serving to reinforce the idea that the masculine world is incomprehensible, and emphasise the power dynamic between Ree and the men. The cow at the center of the scene appears frightened, its life dependent on the mercy of the men, further reinforcing the unequal power dynamic in the room.

*The males are homogeneous*, *symbolised as an oppressive force against Ree. The bars act to separate Ree from the men, displaying the barrier between the two worlds*

Ree is separated from the men by the bars that line the auction space, and her position in the scene is further emphasised by her dwarfed appearance among the intimidating men. The interior of the auction house is sickeningly yellow, connoting the monotonous and oppressive lives led by the men. The cattle also metaphorically mirror Ree’s current state of affairs – the cattle are being sold at auction, symbolic of the notion of Ree’s house potentially being sold for Jessop’s bail bond.

We then cut to a new location in which the steely blue colour palette of the corporate herding facility further emphasises the oppressive nature of the situation, furthered by the cattle moving in the same direction as Ree. When Ree calls for Thump Milton at the top of her lungs, he is unable to comprehend her, further reinforcing the invisible yet prevalent divide between the male and female worlds. At this point, the non-diegetic composed score is discordant, creating a sense of urgency. It is layered in tandem with the cries of the cattle, creating a sensory overload which reflects Ree’s distraught state of mind. The sight of one calf being separated from the others, helpless and screaming, serves as a metaphorical representation of Ree, further conveying the idea that Ree is a victim of the patriarchal society in which she lives.

In conclusion, the cattle market sequence is a powerful demonstration of the film’s feminist ideology, as it serves to highlight the oppressive and patriarchal nature of the Ozark society. Through visual and auditory elements, Debra Granik reinforces the idea that Ree is excluded from the masculine-dominated world, and that she is a victim of the oppressive power dynamic at play.

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

Overview

The “Squirrel Gutting” sequence of Winter’s Bone (Debra Granik, 2010) displays Ree, Ashlee, and Sonny hunting for a squirrel to eat. This sequence serves to trounce the patriarchal preconceptions towards this duty, as she nurtures her siblings to thrive in the unforgiving land of the Ozarks.

Key Elements, Context, and Representation

The scene opens with a wide shot filmed on a long lens that displays a centrally-framed Ree wielding a hunting rifle, with Ashlee and Sonny intimately nestled by her side. This immediately subverts the patriarchal associations towards men wielding weapons. Ree simultaneously attends to the maternal duty of nurturing her siblings to thrive in the wild, alongside the paternal duty of administering the hunting. Sonny’s actor sneeze in a manner that appears to be ‘off-script’, to which Ree responds with a naturalistic “bless you” – an ad-libbed yet intimate moment that develops the bond between the siblings.

Diegetic ambience is layered alongside the hushed voices of the characters in the sound mix, reflecting their anticipation towards killing the squirrel. Ashlee interestingly shows heightened interested in learning the art of hunting than Sonny – a notion that is representative of the next generation of women replacing and trouncing the typically patriarchal duties held by men. Ashlee pulls the trigger of the rifle with no reluctance, emphasising her willingness to learn the methods of survival.

We then cut to the family gathered around an outside table as they prepare to skin the squirrel in preparation for cooking it. A low-angle shot of Sonny looking up to Ree illustrates the fact that she is imparting her knowledge of survival onto him. Sonny is notably squeamish towards touching the squirrel’s guts, emasculating him and supporting the feminist ideology that the film strives for. Ree ultimately teaches a practical life lesson to Sonny, fulfilling the parental role that Jessop never could.

*Ree nurturing her siblings in the means of survival*

Following this, we cut to Ree slicing logs – a typically masculine duty. The viewer is able to discern Ree’s uncle, Teardrop, looming in the background of the scene, representing the oppressive male force that hinders Ree’s ability to thrive. A focus pull is implemented to draw our attention towards him as he edges closer to Ree. Teardrop’s appearance is notably scruffy and ragged, displaying the impoverished atmosphere of the Ozarks. A simple shot/reverse shot sequence is employed throughout this scene, as opposed to a low/high angle shot alternation. This indicates that the power dynamic between Ree and Teardrop is equal, aligning with the feminist ideology the film conveys. He informs her of Jessop’s car being burned, to which Ree maintains a stoic expression. She does not react emotionally and dramatically, which is to be expected of the female stereotype portrayed throughout Hollywood. This emphasises Ree’s strengthened resilience she has garnered after becoming the house’s caregiver. Finally, Ree adamantly refuses the drugs offered to her by Teardrop, which is indicative of her mental fortitude over Teardrop, who is reliant on the drugs. She acts as a role model for her siblings, leading them along a path of purity despite the fact that her mother, father, and uncle are all involved with drugs.

Winter’s Bone Close-Up (Opening Sequence)

Overview

The opening sequence of Winter’s Bone (Debra Granik, 2010) establishes the eminently feminist viewpoint within an ‘anti-feminist’ world that is presented over the course of the film. We are introduced to Ree Dolly, a poverty-stricken young woman who takes care of her family made up of her two siblings and catatonic mother in the mountainous Ozark region of Missouri. The underlying ‘McGuffin’ that drives the film’s narrative is also established in the sequence, being the unknown whereabouts of Ree’s father, Jessop. The sequence also establishes the precedent of not conforming to the ‘male gaze’ that typically pervades throughout Hollywood. Ree is not sexualised at any point, and the main narrative occurrences are from the voices and actions of women. The men in the film, such as Teardrop and the sheriff, merely act as a hindrance to Ree’s journey.

Key Elements, Context, and Representation

The film opens with a non-diegetic lullaby, immediately connoting a sense of intimate maternity. Cutting to a wide shot, the children are framed behind the bars of a bed-frame — symbolising the notion that they are trapped within their environment. This opening sequence also conveys the cyclical nature of nurturing – Ashlee takes care of her toy kitten, implying the idea that she herself has been nurtured by Ree. Throughout the sequence, mise-en-scène is implemented within the domestic landscape, being littered with waste and abandoned items. This, alongside the characters clothing being ragged and humble, emphasises the poverty-stricken way of life Ree and her family leads.

The viewer witnesses Ree competently attending to an array of domestic tasks throughout the opening sequence, such as chopping wood and cooking. This indicates that Ree does not conform to typical gender roles typically presented throughout the Hollywood landscape, accentuated by her baggy non-gendered clothing. Ree is not sexualised in any way throughout the film, standing her ground against the male characters that attempt to hinder her goals. Similarly, Ashlee and Sonny have notably androgynous appearances, implying that gender does not factor into how these children are to be nurtured by Ree.

All of the opening scenes are presented to the audience through the use of a handheld camera, as to illustrate an authentic depiction of reality. The film is also shot entirely on location, as to convey an accurate representation of life in the Ozarks. Interestingly, the cast of the film swapped clothes with the local residents of the Ozarks, further preserving the authenticity of the location. Furthering this, the film does not employ any deliberate blocking, which can be seen through Ree’s face being partially obscured by the clothes hanging on the line. This reinforces Debra Granik priority of emphasising naturalism over choreography.

Ree is forced to take on a maternal role, in which her siblings look up to her as a mother figure. Her appearance starkly contrasts that of Ilsa in Casablanca (Michael Curtiz, 1942), as the film portrays women in a much more empowering light. The house itself has no beds – the children are forced to sleep on chairs. Ree also cooks breakfast using lard, a cheaper alternative to oil, reinforcing the poverty-stricken way of life the family leads. An interesting role reversal also occurs when Ree combs her mother’s hair, a typical action performed by a mother to her daughter. This emphasises the multi-faceted familial duties that Ree is burdened with attending to.

*The children sleep on sofas and chairs instead of beds, demonstrating their impoverished way of life*

During the scene when Ree drops off her siblings at school, a closeup of Ree peering into the classroom is displayed. She glances longingly behind the closed door, illustrating Ree’s wistfulness towards rekindling her lost innocence. Afterwards, Ree meets Sonya to discuss her horse, she is framed in a child-like manner than starkly juxtaposes Sonya’s grizzled appearance – she has been hardened by the strenuous way of life in the Ozarks. The film could also be argued as a feminist film at this point, due to the Bechdel test being passed at this early point in the film: Ree and Sonya are two named women having a conversation about horses, unrelated to men.

The sequence concludes with the sudden arrival of the sheriff, who informs Ree about Jessop’s upcoming court appearance and the risk of her house being sold in order to cover his bail bond. During this scene, an ominous non-diegetic composed score underlies the tense gravitas of the situation. Ree stands her ground confidently, addressing the sheriff with confident remarks such as “I’ll find him”. We view the situation from Ree’s empowered perspective, highlighting the difficulty she faces in a patriarchal society from a viewpoint of oppression.

Feminist Film: An Introduction

Feminist Film Theory

Feminist film theory is a lens through which film can be viewed through, deriving from feminist theory that arose during the second-wave feminist movement that emerged during the 1970s in the United States. The theory is a critical framework rooted in analysing how women are represented throughout film, examining the oppression women face by a dogmatically patriarchal society.

The Bechdel Test

The Bechdel Test is a means of evaluating the representation of women in films. Popularised by American cartoonist Alison Bechdel, it is frequently employed as a benchmark for evaluating the representation of women in films. A film passes the test if it meets the following criteria:

It has at least two named female characters (1)
Who have a conversation with each other (2)
About something other than a man (3)

*Alison Bechdel, the cartoonist who created the Bechdel Test*

The “Male Gaze”

The “male gaze” is a subsidiary facet linked closely to feminist film theory created by British feminist film theorist Laura Mulvey. In her essay “Visual Pleasure and Narrative Cinema” published in 1975, Mulvey argues that mainstream Hollywood films are constructed from a male POV, with the camera merely serving as an extension of how a stereotypical male views the world.

According to Mulvey, women in films are typically objectified in order to satisfy the male desire, with purposeful camera placement accentuating this. In effect, the “male gaze” that permeates throughout all of cinema reinforces patriarchal values, emphasising the notion that women exist solely for male pleasure.

*Laura Mulvey, the theorist behind the “male gaze”*

No Country For Old Men Contextualised

No Country for Old Men (Joel and Ethan Coen, 2007) is a neo-Western crime thriller adapted from Cormac McCarthy’s 2005 novel of the same name. Premiering at the 2007 Cannes Film Festival, the film was received to positive acclaim, soon being nominated for eight Academy Awards, and ultimately winning four including the coveted Best Picture award.

Brothers Joel and Ethan Coen are a prolific American filmmaking duo, of which whose films are made up of an eclectic mix of genres and styles, known for subverting the conventions of genre in a tasteful and nuanced manner. The brothers write, direct, and produce their films together with Joel typically taking screen credit for directing, and Ethan producing. The two also jointly edit, assuming the pseudonym Roderick Jaynes for screen credit. The duo have collectively been nominated for 13 Academy Awards, for films such as Barton Fink (1991), Fargo (1996), and Inside Llewyn Davis (2013).

Producer Scott Rudin initially bought the rights to the novel, suggesting that the Coen brothers should adapt it for the screen. The brothers were instantly enamoured with the book’s unconventional approach to narrative, one the subverted the Western genre – the story did not end with a typical showdown between good and evil. The title of the novel is taken from the opening line of Irish poet William Butler Yeats’ poem Sailing to Byzantium (1928), being “that is no country for old men”. The film remained mostly faithful to the source material, with the main removal being Sheriff Ed Tom Bell’s backstory.

The film’s cinematography was conducted by the esteemed Roger Deakins, arguably one of the greatest cinematographers of the 21st Century. Deakins has worked on cinematographic masterpieces such as The Shawshank Redemption (Frank Darabont, 1994), and has also had a long-standing relationship with the Coens, working on films such as The Big Lebowski (1998) and O Brother, Where Art Thou (2000).

Deakins’ cinematography in No Country for Old Men is widely considered one of the film‘s stand-out aspects. Throughout the film, he masterfully captures the bleakness of West Texas, making apt use of natural lighting and shadow to bring a breathtaking sense of cinematic realism to the film. Deakins noted that it was a challenge to deviate from his typical stylised visual flair, having to make it “very realistic to match the story”.

*A wide shot from the opening sequence displaying a visually striking sunrise*, *emblematic of Deakins’ cinematic grandeur*

No Country for Old Men’s score was composed by Carter Burwell, who has scored numerous films for the Coen brothers. The score is notably minimalist, with the film containing a mere 16 minutes of music. This idea was suggested to Joel by Ethan, who was persuaded to go along with the idea after initially being skeptical towards it. The sparse score that is utilised throughout the film is mostly made up of obscure instruments such as standing bells that are typically found within Buddhist meditation. This, alongside, a innumerable number of ambient sound effects and foley serves to create a pensive atmosphere throughout the film.

No Country For Old Men (Joel Coen, Ethan Coen, 2007)

No Country for Old Men (Coen Brothers, 2007) is an American neo-Western crime thriller based on the 2005 novel of the same name. Set in West Texas during 1980, the film follows three main characters: Llewelyn Moss, a war veteran who stumbles upon a bag containing $2 million at the scene of a drug deal gone wrong; Anton Chigurh, a psychopathic hitman who is hunting down the whereabouts of the money; and Ed Tom Bell, the local sheriff tasked with investigating the crime.

*Anton Chigurh, a hitman trying to track down the $2 million*

The film is widely regarded as one of the greatest within directorial duo, Joel and Ethan Coen’s filmography. The gripping neo-Western narrative from multiple perspectives in tandem with a showcase of stunning cinematography courtesy of Roger Deakins culminates in an enthralling viewing experience. Despite the film excelling in characterising each of the three main characters, particularly Chigurh, it is also filled with pensive sequences with little to no dialogue. This convention typical of the Western genre serves to create an apt level of suspense and tension, further immersing the viewer into the world of the film. The film’s underlying themes are also particularly ambiguous, which can be seen most notably within Chigurh’s enigmatic motivations. He often leaves the fate of his victims up to a coin flip, perhaps implying that he is driven by nihilism. The film does not shy away from its depiction of graphic violence, with an early scene of Chigurh strangling a man with a pair of handcuffs immediately establishing the brutal tone of the film.

Upon watching the film for the first time, I was initially disillusioned by the ending, finding it particularly unsatisfying. However, I found the film generally, alongside the ending to be much more encapsulating upon second viewing – its subversive brilliance was truly cemented. However, I did still feel slightly disengaged during the scenes involving Sheriff Ed Tom Bell, finding his character to be the least compelling.

Overall, I would rate No Country For Old Men ★★★★.

Winter’s Bone Contextualised

Winter’s Bone (Debra Granik, 2010) is an independent drama film based on a 2006 novel of the same name by Daniel Woodrell. Premiering at the Sundance Film Festival in 2010, the film won both the Grand Jury Prize, alongside the Waldo Salt Screenwriting Award. The film also received two 2011 Oscar nominations – Best Picture and Best Adapted Screenplay. The film also kickstarted the acting careers of both Jennifer Lawrence and John Hawkes, who both received Academy Award nominations for their performances in the film.

The film’s director, Debra Granik, is an American independent filmmaker known for directing films including her debut, Down to the Bone (2004) and most recently Leave No Trace (2018). Considered a leading voice in independent cinema, Granik’s films often explore themes of poverty and working-class life, with Winter’s Bone being no exception. The film was widely praised for its naturalistic performances and filmmaking techniques.

Winter’s Bone was produced by Granik and Anne Rossellini through their production company, Anonymous Content. The film’s budget was $2 million, which after multiple failed attempts to finance was provided by a private equity deal. The film grossed $6 million at the box office, tripling its budget. The film was shot on location in the Ozarks of southern Missouri. Many of the supporting roles that spear in the film were first-time actors from the surrounding area, and each home seen within the film were already established – no sets were built. Granik kept most of the existing aesthetics within the homes, with added props being provided by the Ozark people in the community.

Winter’s Bone also features a score predominantly made up of gospel, traditional folk, and bluegrass music, alongside an original soundtrack composed by Dickon Hinchcliffe. The score, particularly the main theme “Didn’t Leave Nobody but the Baby” serves to accentuate the rural environment of the Ozarks, reinforcing the themes of poverty and self-sufficiency. Hinchcliffe’s original compositions aids the film in creating a sense of foreboding and unease, heightening the tension as Ree searches for her father.

*Dickon Hinchcliffe, the film’s composer*

The film’s cinematographer, Michael McDonough utilised a notably muted colour palette throughout the film, emphasising the rugged rurality of the mountainous Ozark region. Handheld cameras were employed throughout the film, building scenes from single perspectives in order to create a sense of realism.

*Cinematographer Michael McDonough uses a grainy combination of yellows, browns, greens, and greys to create an aesthetic reminiscent of a worn photograph*

Ideology Visualised

Ideology is an agreed upon set of dominant beliefs of philosophies attributed to a particular person, or group or people. Below is a mind map that explores the concept of ideology, alongside how it can be presented in film.

Component 1b: US Film Since 2005

The next component we are studying is Component 1b: US Film Since 2005. This section of the course entails two films of study, Winter’s Bone (Debra Granik, 2010), an independent film and No Country for Old Men (Joel and Ethan Coen, 2007), a mainstream film. Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two new specialist study areas – Ideology and Spectatorship. This component also involves a direct comparison between the two studied films, akin to Component 1a.