Black Swan -Film analysis writing paper-03

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This is a film analysis paper, not a film review paper !!!!

The detailed writing instruction is post in the attached file, need at least 7 pages.

Film name: Black Swan (2010)

Film link: http://www.haitum.com/movie/104-6215.html&play=0-0

Must use two citations from the attached readings.

1. Caroline Ruddell, “The Monster Within,” The Besieged Ego: Doppelgangers and Split Identity Onscreen (Edinburgh: Edinburgh University Press, 2013), 55-78.

2. Caroline Ruddell, “Introduction,” The Besieged Ego: Doppelgangers and Split Identity Onscreen (Edinburgh: Edinburgh University Press, 2013), 1-17.

Make sure this is a film analysis paper, not a film review paper.

Need to talk about the film mise-en-scene, cinematography, editing and sounds effects in this film

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Acknowledgements Introduction T he close: of Atfld (Alan Parker, 1987, US/Can.lUK) provides a significant dilemma for both Ihe character Harry Angt:1 (Mickey Rourke) and also the vie"'er. Harry, as one would expect, firmly believes that he is Harry. He looks like l-larry and speaks like Harry. have identified with him as Harry Angel, the r.uher chamling and likeable pri\'2te in\'estiplor, for the entire film up to this point. The c1imaJ: of the film, howc\'er, displays Harry desperately screaming at his mirror image 'I know who I am', after being told by the Devil (Robert De Niro) that he is not Harry and is, in fact, a singer named johnny Favourite - the ve.ry person that Harry has been attempting to tracl: down in the narntive. Harry's inilial reaction is to go to the mirror as if attempting to confinn to himself thal he is whom he thinks he. is. Perhaps, on the olher hand, he is expecting his appearance to have: morphed into another, which would confinn this confusion around his real identity. Yet he still looks like 1-larry, he sliU feels like he is Harry, but he is not: Harry's mirror image is delusional, and it takes Lucifer 10 convince Harry otherwise. Angel fleart provides a narrative where. Harry is sent on a wild goose chase by Louis Cyphre (Lucifer) who is posing as a businessman. He is employed as a private investigator to tr.lck down singer juhnny who, as Cyphre explains, has skipped out on a 'business' deal they had nude. The deal was that Lucifer would make johnny famous in return for his soul. Johnny, however, :ntempIing to outwit Lucifer, steals the soul of another (Harry) and assumes his it.lcnlity. Ultimately johnny/Harry becomi..'S unable 10 remember his former life as johnny and he is literally, and unknowingl)'. employed by Lucifer to track himself down. The close of the narnlive finally reveals lh:ll Harry is not whom he. thinks he is and, all along, he hllS played the villain committing horrific acts of violence; he has no memory of these acts until the final scenes where il all comes back to him. As is usual wilh psychologic::ll-based horror genres, the here are several people 10 whom lowe a gre:lI deb. of gratitude, and who made 7'lrt Bn;t8tJ F,u a pleasure to work 00; any omissaons or errors are mine and mine alone. Firs. and foremost I would Like to thank Tan)'2 Knywinsb; ifil for her grell knowledge and suppon this book would never ha,'c bttn wrineR. I would also like to thank Linda Ruth Williams for her support., and ad,·ia:. Various colleagues ha\'c m:ade helpful comments and suggcstions during the course of Ihis research, and I would p:arlicularly like 10 thank Leon Hunt, Paul Ward, Geoff King, Ciao Duffy, Urian Ridgers, Richard Mills, Carole Murphy, Maria Mellios, Jon Hackett, Ilrigid Cherry, and Michele Aaron. lowe a debt to colleagut:S at SI Mary's University College who ha"c allowed me time 10 work on this book. To Gillian Leslie, and all at Edinburgh University Press, who h:l.ve betn so helpful in the wriling of £'o. Thanks also to my famil)' whose support has been :I. continu:l.l source of strength, and to my friends who have accompanied me to the cinema :and allowed me to waffle about film :and teJe\·ision over the years. I would particularly like to mention Laura Wood, Sarah Davenport, Grant Durnside and Chris Lambeth. For Kevin Ricks, who was there in the beginning :and provided much support and encourab-ement, I am eternally grateful. Without IJctcr Howell I could never have finished this project; thank you for your endless suggestions and help, and for taldngon the bulk of childcare so I had time to walch, read and wrile. L:lstly. life has lIew meaning with Matilda Charlone Howell- welcome to the world, and to the wonderful visual you have 10 look forward 1'0. T :1 Tin IlESIt:ta:u IWO viewer is aware throughoUl that something is amiss; e\'erywhcrc Harry goes a de..d bod)' lOrns up and he scems umble to detach himself from unfolding of his conneclion 10 other characters. It is not until the closing e\'cnts, st..ges of the film that \'iewers become ..ware that the Devil has knowingly sent H:ury after himself Oohnny) 10 take: back his debt. The final twist in the plot It..-aVr5 Harry (understandably) utterly confused in relation to his idcntiry, and the film taps in to the dr:unatic notion that e\'en looking in the mirror and seeing ourselves does not m.'cessarily confirm thai we are who we think: simplistically put, appearances can be: dea:pti\'e. Mirrors fC2ture at other promintnt momttlts in the film; in thc scene where Harr)' has sex with Epiphany (Lisa IJonel) (and actually murders her) he looks at his mirror rcOeClion and punches the glass, sh>luering his own image. He later gOd back 10 this same mirror and stares at his fragmented image. Similarly, during a scene when: Harry interrogates Margaret's father (Stocker Fontelieu), he stares in the mirror in the bathroom shouting 'who's the boy?' as Margaret's father rells him Johnny stole the soul of a young soldier; this is a prelude to Ihe later scene where he will similarly try to use a mirror to assert his identity and find answers but the film also implies that it is during thi."Se mirror scenes that Harry in actuality kills Epiphany and Margaret's father. Finally, Harry goes to Marguet's (Charlone Rampling) apartment and finds soldier tags confirming that it was, indeed, Harry Angel whose soul was stolen by Johnny Fnourile. He consistently claims, however, that he knows who he is and he rushes to the mirror to confirm this f:lCl. The De\'il, who has appeared in the room, replies 'uke a good look johnny, however cleverly you sneak up on a mirror, )'our reOcction 21w2) looks you str.aight in Ihe e)·e'. Harry continues to insist lhat he knows who he is and he: SI2J"CS in Ihe mirror aU the while; it is during this prolonged SlatC at himseJf that Harryl johnny begins to sec: that he did commit lhe murders that he investigates in the lUrr:ltive, and finally realises Ihat he is, indeed, Johnny Fnouritc. H.:lrry is arrested in the final sanes of thc film, and it is here that his split identit)', or pos.sesscd self, is made explicit visually (rather than implicitly through the usc of mirrors); as the police: officer tells Harry that he will 'bum in hell' for what he has done, Harry nods in agreement :lnd his head appears split down the middle. With the usc ofsubtle special effcClS the two halves of Harry's facc and head appear incongruous and at odds with each olher; Harr)' is not one, but two. The narrative structure and visual dcvices deployed in AI/gel /feart provide a useful introduction to the eOIHen! and focus of this book. Split identity frequents the silver screen continually :lcross a nnge of genres; this book charts lhe multifaceted ways the double or fragmented identities function on-screen. The)' pro\'ide narrative cause and effect, character motivation and, abo\'e aU, II" I 1\ u ..... v .... I I v n -' I{)CClacie. What is so effective in Ansel HeQrl is that this um."Onscious subjectil'e split nature erupts from the unknown into the 'real' and knowable. This provides an extremely spectacular way of pro\'iding drama and tension to auract an audience but it also taps into contemporary concerns that surround identity, and this also helps (0 explain the popularity of narrativcs such as in A",e/llellrt. and why they might engage audience interc5t. As is the case with nuny of the films discussc:tl in this book. AnSd Heur,'s narr.&til-e is not simply figurative of a split nature. Rather. tbe film places this in the contexl of the use: of voodoo and black magic in Dttp South America, and, as Krzywinska argues, the film links \'oodoo with sat.lnism (Krtywinska 2000: 182); Harry's doubling is dirtttly linkc=d to voodoo and its relation to the Dr:vil. As is so often the case with doubling. a split nature is provided as a narralil'e base to tap in to the problematic:s surrounding many charged cultural struggles which, in this case, is an understanding of voodoo, and in horror film conventions is often grounded in black magic. Harry's doubling with, or p0ssession by, johnny is used as a psychological narrative tool 10 address issucs surrounding cults and religions (voodoo and Christianiay), metaphysics, and the use of magic. What is also perhaps most noteworthy about Angt/ f/(art is that Harry (originally alleasl) is mainly an innocent character. The film makes it clear that Harry was an innocent bystander who, being in the wrong place at the wrong time, and possibly a little drunk, falls prey to Johnny's possession and Margaret's seduction. More usually in narr.lli\'cs that centre 011 the double, the protagonist is guihy of some form of immoral behaviour or activity which is then exaggerated and played out further by the dark double, or monster within. The crnergtnce of the Jark double or monster within is therefore often a direct result of the protagonist's be:ba"iour. The double, then. is deeply linked to our sense of humanity, morality, ethia, and oftcn plays out in fiCiional form cultunl fears surrounding our capacity for monsuous or ulUCttptablc behaviour, our sense of selfand, importantly, self-worth. The double, or doppelganger, is no stranger to fictionalised foons but it has thrived in the age of the: moving image and this is due (0 several key points. Firstly, illusions afforded by cinematic technology lend themse.h'es well to tales thaI draw on the supernatural (though it should be noted that the double is not confined 10 genres that centre on the supematural). Secondly, it is in the: visual image that the double has power or holds sway. As Andrew j. Webber argues 'the Doppelganger is above all a figure of visual compulsion' (11}()6: 3), While Webber is discussing Gcmlan literature, arguably the uncanny visibility of Ihe doubk is located distinctly in the \'isual which is the very premise of film and t'devision. Lastly, it is in the generic nature of (mainstri."2m) film and t'elevision that f:uniliar tales are told and relold, and the double has an allure thal continues to fascinate viewers; the deeply unknowable nature of identil)' ... THE BESIEGED EGO is transformed on-screen into a spect-",de that makes the theme of fragment:lry identitY:l t:lngible force. From the ancient Greeks' preoccupation with the gods, to fairy fales, through to contemporary I'elevision series and film, themes that hinge on the unknowable and irntional, and narrativcs that test the boundaries of the 'human' hold a continual allure for storytellers and their readers and :mdienees. As onl and wriuen t'llies of gods and monsters inform flightS of the imagination, SO cinema has the capacity to realise visuall)' these: stories for us. It is the cinema's capacity for illusion and spc:cl'acle that pro\'ides the perfect forum for playing out narratives that centre on fantastic and nugical and figures; narrath'cs that potentially provide tsClIpe from the prosaic qualit'its of ever)'day existence. Figures of the imagination, such as the vampire, witch, werewolf, ghost Or doppc:lg:mger have a spccial power to lure Our jnt'ertst. While these figures might appear incongruous in the hi-tech contemporary world, they an: nonetheless featured regularly in various forms of popular culture. AU supernatural figures potemially endanger human identil'y, either through threat to the mental or physial, or through repliation, annihibtion or e,'en seduction (the V:tmpire, for example, often seduces "ictints to their death). While in the genres of fantasy and horror, figures such as the v:ampire or werewolf are perhaps best known as anti-heroes, the double or doppelganger has always maintained a shadow-like prese.nce on the screen - and is not just confined to f:antasy-b;lSCd supernatural genres. While the duuble or doppelganger has bttn discussed in the COntext of the G01hjc :and literature, the double (or fracrured identit)·) has bttn largely overlooked in film "..riticism. This is despite the facl thai doubling has frequented the silver screen in a multifaceted way :and is evident across :a range of genres throughout film and television history. This book aims to provide a thorough analysis of split characters in film and lelevision 10 ascertain what is at stake in the representation and meaning of characters that have losl a sense of wholeness and autonomy. Representations of identity are realised in film and television primarily through characters; identity in relation to most characters is figured as the representation ofa (human) 'selr. While I am not concerned with spectatorship in Ihis hook, I maintain that the 'humanness' or the 'scW that t;haraclers represent is inlegral to how viewers identify, and this identification plays :a core role in providing viewer pleasure. Film and television representations of identity, of the 'seW, are, for the mOSt part, however, contr",dictory; arguably, figures such as the :action hero are often neu perfect versions of the human who possess the skills and ingenuity to defeat all manner of villains, )'el other b"enres posit a different view of identity altogether. Across genres, char",cler idenlit)' is phl)'ed out in many different ways: in mainstrc:am genres the hero is often primarily fuUy in charge of his l narrative, drh'ing the action forward jusl as Laun Mulvey discusses in rel:atiol1 to classical What is often most app:arent aboulle:ad characters m m:any mamstream examples is that they are :autonomous, in control of their body's pain and action to the point of being almost 'inhuman'. for example, tht stunts and t1ploits accomplished by characters such as John McClane (Bruce Willis) in o;e Nard (John McTiernan, 1988, US) are achieved through Literally incredible body strength, intelligence, ingenuity and wit, as well as a little luck: these are allributcs not many could claim ownership over (not over all atlcast). Yet, the: more \'ulnc:rable :allributes of such a characrer as McClane are evident in »peets of his personal life; his wife has left him to pursue a sUCCt:SSful carec:r, Ic::aving him feeling unwanted. Characters such as John McClane are familiar in mainstream film, and most viewers :are accustomed to watching nClrperfet..1 "ersions of 'humanness' on--screen. uterally incredible strengths are made be:lienble by being :annexed lO aspects of weakness, We can believe in McCain's perfect qualities because: he is weak in other ways (or, we believe in Shc:rlock Holmcs's astounding perspicuity bc:ausc:, in personal terms, he is a deeply conflicted characler). 'l'hese 'ideal' characters cerl2inly provide one of the ple:asures in watching cinem:a; they bolster a collecti"e audience sense of empowerment. Perhaps as viewers we feel strengthened through aligning oursc:I\·cs with such powerful and daring figures.! It can be usc:fulto view such hero characters in the light of Freud's notion of ' wish fulfilment' which Freud discusses in relation to dreams (1900); such characlers play oul many hero qualities th:at the audience an gain ple:asute: from if they identify with characters such as McClane. Ideal characlers are not always on display, however, And it should be noted that recent action films, such as TIre Bourne Identity (Doug um:an, 2002, US/Ger./Cze.) and the follo¥dng sequels, feature protagonists that have a more difficult or unknowable identity; in the 80llme films, Jason (Matt Damon) suffers from anmcsia and cannot remember who he is. This one example suggests a shift in representation towards more difficult identities Ihat lean towards fracture and loss, yet this is nOI quite the case:: doubles and fractured characters have existed in cinema since its inception, and this is often bcc:ausc: film and television draw from literary, mythic and fairy-tale sources for narrative :and ch:aracter. The S'udtnt of Prague (lAor Slut/ent wn PrQgue) Stellan Rye :and P:aul Wegener, 1913, Germanyl features:an identical double lhat stalks the protagonist after a p:aCt with the Devil; many versions of the Dr Jekyll and Mr Hyde n:arrative have been produced from the lC)08 short film through to Paolo Dar'J:m:an's 2008 made-for-television movie. Even Chuck Jones's 1953 cartoon Ouct AmUCk features two Daffy Ducks. Throughuut the history of the moving image, splinlered identities have haunted the screen. b THE IlESIEOED EOO The: title of this book refers to a ps)'chical projection of'stlr Ihat frequently comes under aHack, and this can be ,'iewed in two ways. Firstly, in ps)'choanalytic theory the ego is consistently besieged, and secondly, the protagonists (whom we can view as 'egos') that frequent many moving-image examples hne likewise been plagued by a of hostile forces. Chapter 2 will explore the concept of ego in psychoanalytic thought (specifically in relation to Freud and Lacn) but it is worth brieOy outlining here the importance of the concept of ego in understanding problematic representations of identity on-screen. The term 'ego' derives from the Lat'in subject pronoun mC3ning 'I' and is now used commonly to describe somcone having a rather high opinion of her/himself. As early as t8Qt the term ego begllll to delineate an inflaled sense of self-worth, and this is approximately Ihe same time that Freud look up Ihe term in his thcory. This poincs 10 a lension between the ps)'choanalytic use of Ihe term and a more popular usage. Whal does seem probable, though, is that our ego is relued to who we see as ourselvtS. lfsomt':one has too big an ego, they overvalue themseh'es, and, if someone has no ego, the)' mUSI therefore havc a low opinion ofrhemselvcs. The Oxford EIIgliJh J)iCliollury explains ego as 'scW or 'self-esteem' (Hawkins 1988: 157); this is an aspect, then, that we shall apparently never have in common with another, and it is taken often to refer to the purdy personal, or 201 least that which feels personal. Sherif and Cantril suggest that the word 'ego' has been proposed by some as 'a substitute fOf" the "soul'" (Sherif and Canlril t947: 92) which furlher suggests individualisl connotalions and rel:ues, therefore, to cuhures., or ideologies, where: individualism is celebnted or nlued. II seems reasonable that the ego can be considered conn«led to valuc:s placcel on individualism and underlies the way that we cxperience identity. Terms such as egomaniac or egolist, however, suggest that ego is nOt only how we perceive ourselves but also links to how we wish 10 be seen by olhers or how others experienl.'t: us. The concept of ego is centnllo Ihis book as it provides a means of underslanding ide:mity; it is important to Sllo)', however, thai the ego in psycholmal)'tic discourse (which is largely conscious) is only one flart of psychical functioning, wilh other elemenls pl:l)'ing a role in the psychical drama. One: of the creative: and lantalising idCOlS of psycho;a.nalytic thought is that we rna)' not really know who we arc. PS)'choanlll)'tic models of the psyche show thai Ihe ego is a device that works 10 dis:1\'oW the more Iruthfully fragmented e:xperiem.'t ofsubje:cti,'ity and identity. 11 is 01)' intenlion to show that Ihe representations of splil identity in film resonate with issues that surround identity as a cuhunl construction - as it is aClually experienced. Psychical splitness is inherenl to psychoanalytic understandings of the psyche; this is noridly app.arent in Jacques Lacan's work. Jacques-Alain Miller describes succincdy "the LacaniOln "seW'; it is intimately related to self-punishment. In otMr words, it has nothing to do with unity, harmony, equilibrium, or enjo)'ment. Rather, il is already a divKled selP (Miller 1996: 8). J also iook to Sigmund Freud and the splilting of the psyche into interweaving proceiSCS (id, ego and superego), or conSl.:ious/unconsOous. Based on the meaning of the ego, Freud described the function of ego as the: 'coherent organization of menial processes' (Freud 192Jb: 355); the ego mediates between tbe id, superego and external realily. As me ...
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Black Swan film Analysis
SYNOPSIS
Black Swan is a psychological thriller that was shot in New York, 2010. It was directed
by Darren Aronofsky. The movie is based on Swan Lake, a ballet that was composed by Pyotr
Ilych Tchaikovsky. It is centered on a Swan Queen expected to play both contradicting roles of
White Swan and Black Swan. The White Swan is portrayed as an innocent loveable young in
love with a prince. Contrary, the Black Swan is an envious evil young girl who cunningly
seduces and steals prince from the White Swan. The main challenge in the movie is getting a
character who can excellently play both roles of White Swan and Black Swan. The main
character (protagonist), Nina Sayers, is naturally a White Swan. She has to train really hard to be
able to play the role of Black Swan. In doing, she faces a challenge from her two main rivals;
Beth Maclntrye and Lily, who are effortlessly able to play the role, Black Swan. Beth veteran
ballerina is eliminated from the contest of being chosen to play the Black Swan role technically
through the announcement of retirement by ballet master, Thomas Leroy. After a series of
training, Lily, a newcomer, seems to capture the attention of the ballet master for the role.
However, Nina courageously approaches and convinces him that she can play the roles of both
White Swan and Black Swan. In what appears controversial, she is chosen as the Swan Queen.
However, the load of the new role of Swan Queen weighs heavily on Nina that it starts damaging

Surname 2
her persona. She struggles a lot to accommodate the two personas of White Swan and Black
Swan. At the end of the movie, she succeeds in emerging as perfect Swan Queen but at the cost
of her life. She dies from injuries she inflicted on her under a hallucination.
The analysis which follows looks at how the crew brought together various elements of
film production to come up with a great film such as Black Swan. The analysis will majorly
focus on mise-en-scene, cinematography, editing, and sound effects.
FILM MISE-EN-SCENE
Mise-en-scene simply refers to the environment of the scene-setting. It constitutes the
lighting, sets, costumes, props, composition, and actors (Corrigan, 2012). It is everything that
appears before a camera. It is one of the elements of film used to create believability or
verisimilitude. Believability is created through a sense of time, space and mood. Proper matching
of mise-en-scene and character helps viewers understand the character better. For instance, a
character resting in the untidy room gives the impression of laziness, tirednes...

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