In this clip, extracted from the TV programme Fingersmith, sexuality is presented through the use of a range of techniques associated with camera work, sound, mise-en-scene and editing. In this essay I will analyse the ways in which the three characters' sexuality in displayed.
In the opening scene a long shot is used to introduce two female characters, Maud and Sue. Here the two characters are presented to be rather feminine through the use of costume as both females are wearing dresses. This long shot then quickly cuts to a two shot where Maud (behind) is displayed to be holding up a dress in front of Sue. This two shot presents Maud to be comfortable with physical contact with others which is shown through her body language. She is shown to be resting her hands on the shoulders of Sue, therefore implying that they have a close bond/relationship. However, Maud only looks directly at Sue when Sue stops making eye contact, perhaps presenting Maud to feel awkward or uneasy. Following this, a non-diegetic narrator is used which seems to be coming from Maud begins saying 'she looked so beautiful' and a second or two later and background piano soundtrack is introduced and could be considered to suggest that Maud has some sort of emotional attraction towards Sue. The emotional connection between the two characters is shown through the pace of this shot which is very slow as it is held for 10 seconds. Perhaps intending to emphasise that this moment is significant. It could also be considered to imply deep emotional thought as everything is very slow and fluent. The shot then cuts into another two shot of the two characters through a reflection of a mirror but once again positioning Maud behind Sue in the composition. Maud's body language is further enhanced in this shot and is displayed to be rather serious through her expressionless facial expressions. Portraying she is in deep thought at this time. This behaviour is quite unusual as most women would be happy and excited in this particular situation. The shot the cuts back to the original where Sue states 'oh my goodness miss.. I look like a real lady'. Maud's sexuality could perhaps be presented through her facial expressions at this point as they remain emotionless which could be in reaction to the words 'real lady'. This could present her to be opposing the traditional heterosexual stereotype of women as throughout the scene she is seen to be seemingly uncomfortable in the situation.
After this, there is a dissolve used where the audience sees a mid shot of Maud on her own, once again seeming to be in rather deep thought, shown through her facial expressions looking rather confused or in thought, perhaps thinking about the previous events. Gradually causing the audience to get a better understanding of her sexuality. This shot then dissolves once again into a long shot of the two characters in bed which each other, Sue is asleep whereas Maud is awake watching over her. There is a slow camera movement towards the two. The use of low key lighting and the setting/props of a bedroom sets a calm peaceful and rather romantic atmosphere. This could be considered to portray Maud's affection towards Sue. Maud's affection towards Sue is defined in this scene where she positions her hand just above her body as though she wishes to touch it. She runs her hands over rather sexual parts of the body, starting at the breast and ending at the crotch, implying that she possesses a sexual desire in towards Sue. Once again the pace of the scene is very slow and the camera movement acquired to this shot intensifies the action taking place and suggests that she should't be doing so. This impression is furthered through the use of the costume of a glove which implies that her feelings towards Sue are forbidden and demonstrates how she has to prevent herself from making it public.
In the next scene, Maud is shown to be painting Sue through a series of close ups and then a long/establishing shot which displays a new calm neutral setting of a lake. This feel is furthered through the diegetic sound of birds tweeting which employ a calm and relaxed atmosphere. As Maud continues her painting a new character is introduced through a long shot and then a close up is used to demonstrate the man interrupting her proceedings by grabbing her hand and saying 'she must think we love one another'. His action and body language conform to the masculine heterosexual stereotype of men as he attempts to show his dominance. Additionally, Maud says to the man 'wake her, she'll burn" which clearly shows that she cares about Sue's health and feels the need to take responsibility for her. The man then reassures his dominance and sexuality by telling Maud to 'shh'. A shot reverse shot sequence, including close ups of Sue's breasts and hands on her lap and also close up reaction shots acquired to Maud. Implying themes of a very sexual nature as she once again shows he desires towards Sue. After this a sequence of close up action matches of paint dripping onto Maud's dress, the dripping of the paint has been slowed down and therefore intensifies the action. The dripping and slow pace is caused by Maud being distracted by admiring Sue, emphasising her attraction towards her. From this point onward the pace of the scene increases and the man becomes seemingly aggressive and violent which is displayed through his body language of holding Maud by her throat. This once again reinforces the man to be particularly dominant and heterosexual. As the two character converse the man says 'she'd laugh in your face if she knew' which implies that he knows that Maud has feelings for Sue and thereofore presenting homosexuality as something which is frowned up on.
In the denouement of the clip Maud refuses to kiss the man and denies him the opportunity to do so by turning away, showing her cheek and therefore defines her status as a lesbian. Demonstrating that she is accepting her sexuality and therefore resulting in confronting the stereotype given to women. In this scene the pace once again decrease down to a slow pace to emphasise the intensity of the situation of the man kneeling before kissing her hand and therefore exemplifying Maud's uncomforted.
No comments:
Post a Comment