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AS Film Studies – FM1: Exploring Film Form

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How do the micro features of Cinematography and Sound in ‘In Bruges’ (2008 Dir.

Martin McDonagh) create meaning and responses for the spectators.

This essay is going to be focusing on the micro aspects of the 2008 text In Bruges directed by

Martin McDonagh, particularly focusing on the end sequence. This black-comedy thriller

centres around two hit-men Ken (Brendon Gleeson) and Ray (Colin Farrell) sent to the

Belgium city Bruges by their notorious London crime boss, Harry (Ralph Fiennes) while they

await orders. When the order finally comes, Ken is tasked to execute Ray, which is the

primary moment of disequilibrium according to Todorov’s three part narrative, where the

spectator is thrown a twist in the narrative.

McDonagh subsequently employs many

cinematic codes and micro elements to create

great tension throughout the rest of the narrative

to help aid comical and saddened moments.

The scene this essay will be focusing on is the

final chapter; “Principles” where all the

elements and conventions come together as

Harry himself takes on the task of assassinating

Ray. 1According to statistics the 2008 hit

received over 25 nominations including an

Oscar for best screenplay. This micro analysis

will be focusing on the micro features of

cinematography and sound as well as the

complex impact they have on the spectator.

One of the film technique’s used in the sequence

‘Principles’ is cinematography, denoted as the

photographic elements of the text such as

camera movement, angles, shot types and

framing, are employed to help construct the

climax and the film style. This essay will focus on the micro elements of, camera movement,

angles, shot types and framing within the micro feature of cinematography.

The technical code of the camera movement throughout the scene changes to suit the

characters. As the scene starts the focus point of the camera is on the protagonist Ray. As he

has just been shot, the denotation of the camera is from his point of view in various shots

making movement very unsteady connoting the effect of the gun shot on the protagonist. A

tracking/dolly shot is used to follow Ray through a film set in the street; this creates escape to

the spectator according to Katz’ Uses and Gratifications as the technical code shows he is

being followed; thus creating great tension and an unfamiliar setting. A colour motif or palette

shot is used here because the scene takes place at night- McDonagh decided to make use of

repeating dark blues for the surrounding setting and white for both the snow and lights on the

film set. This contrast in the colours is an enigma code, according to Roland Barthes of what

will happen; because of the contrast in dark and bright colours a connotation of good and bad

is represented to reflect the characters and reflect something uneven in the situation. This can

be denoted as an example of binary opposition according to Levi Strauss

Camera angles are also a key factor in this scene as they give a different perspective on the

characters and narrative. The best example of where angles are strongly utilised are at the new

equilibrium according to Todorov’s three part narrative when Ray is

being stretchered into an ambulance. The spectator sees the scene from Ray’s point of view as

his head is turned as he looks up at people. The camera employs a 45 degree angle to

1 -http://www.imdb.com/title/tt0780536/awards

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AS Film Studies – FM1: Exploring Film Form

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give a point of view shot of what Ray is seeing as he

is taken to the ambulance, which connotes his pain

and suffering to the spectator.

After Ray has been shot, various different shot types

are used to denote

the different

effects on the

characters. As the

scene starts the spectator is shown the technical code of a

mid shot of Ray having just been shot, which enables the

spectator to see the graphic bullet wound as Ray is

bleeding. This then cuts to a close-up to show the

spectator the non-verbal code of Ray’s facial expressions,

which ‘informs’ the spectator, according to Katz’ Uses

and Gratifications theory, of the pain that Ray is in.

The mid-shot then cuts to a long shot of Harry the villain,

according to Propp’s character roles. The technical code

of long shot is used as it connotes the calm and steady

pace of Harry. This is in binary opposition according to

Levi Strauss, of the state that Ray is in. The contrast

between the two connotes that Harry has power and

control over the situation.

An extreme close-up of Harry’s gun is then shown. The non verbal code and extreme close up

connotes that this enigma code, according to Roland Barthes, will be important to the scene.

As Ray is shot, an oblique shot is utilised to convey the impact of the bullets as they hit Ray,

connoting disequilibrium within the scene. This also has a huge impact on the spectator as

they see the scene as if they were an onlooker. As Harry realises what he’s done, a low angle

shot is used to show he has power as he has just taken a life, however he feels regret for it.

This then surprises the spectator when Harry shoots himself because the low angle gives him

control. This is also an example of binary opposition according to Levi Strauss because of the

power he had over the situation.

Within the scene, the use of framing is conveyed through the technical code of a close-up of

Ray. The framing is in soft focus which connotes a misty eyed perspective which focuses all

the attention on Ray, which conveys a romantic

element to the text and is an enigma code, according

to Roland Barthes, that the protagonist is dying.

The technical code of lighting used in this scene

transitions between extreme low key lighting to

extreme high key. It is late at night and so the

natural lighting is quite dark. This has an immediate

effect on the narrative as it connotes disequilibrium

within text and also connotes the dark situation the

protagonist is in; however as it is night there are street lights around. These little glimmers of

high key lighting connote small hope for Ray and the spectator. This contrast implies the

climax of Ray’s life is coming to an end. This technical code appeals to ‘care givers’,

according to Maslows hierarchy of needs, as the spectator is asked to sympathise with Ray’s

situation.

As Ray stumbles onto the film set, high key lighting from powerful lights shine directly on

him. This momentarily non-verbal code could have an ambiguous meaning; either he has

hope within the text, or that because of his blood loss can’t see clearly as the extreme light

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blurs his vision. There is also a moment in the scene where low key lighting is on Harry to

connote he is the ‘villain’, according to Propp’s character roles. This moment is simultaneous

to the high key lighting on Ray to connote him as the ‘hero’, according to Propp’s character

roles.

In the new equilibrium of the scene suddenly high key lighting of the inside light of the

ambulance creates a ‘cliff hanger’ ending, for this lighting connotes one of two things - either

the light connotes hope for him and he will survive, or he is seeing the light and is about to

die. This would also appeal to ‘care givers’ as the spectator will sympathise with Ray and the

mystery surrounding his life.

Within the scene the micro feature of sound is used to build a climax to the end of the scene.

The scene starts with a mid shot of Harry after being shot; stumbling into a courtyard of stone,

non diegetic sound is then employed in the form of a slow, low key piano tune. As Ray is

walking the spectator occasionally hears synchronous sounds as Ray begins deep breathing

and coughing. As the spectator follows Ray the piano fades out and a violin is left playing.

The peacefulness of this verbal code connotes calmness and the spectator begins to feel

comfortable with the scene. It also gives the protagonist a sense of hope, which then surprises

the spectator when a shot of Harry and the gun are shown-synchronously to the shot. The

piano quickly fades in and the tempo increases, building greater tension as the spectator

would have not been expecting this. The enigma code of the gun, according to Roland Barthes,

of what will happen next is further explained through the music building up.

A verbal code is then used as the first dialogue in the scene is spoken by Ray “The little boy”.

The timbre sound to his voice gives a sense of regret and with this the spectator sympathises

with Ray as he feels guilty. The climax then comes as Harry shoots Ray, the synchronous

sound of the gun shot ends the music and silence falls, which connotes the impact of the

bullet as Harry shoots Ray. The verbal code of the gun shot fades out as another is heard. As

this fades out a moment of silence remains before a third and final shot is heard, however this

time the spectator doesn’t hear the bang but the impact of it entering the body, as the silence

is then disturbed by the fidelity as his body falls to the floor.

When Harry realises that he has just killed what seems to be a child, the music starts up again

accompanied by a deep bass,

connoting the mistake that Harry has

made. As Harry goes to shoot himself

the verbal code of dialogue “you’ve

got to stick to your principles” is

employed by McDonagh, the verbal

code “principles” connotes a sense of

honour and the spectator is then

surprised when Harry shoots himself,

which is then reflected in the

aftermath of the gun shot as the synchronous sound of the bang lasts longer, which connotes

the shock the spectator is in.

As the shot cuts back to Ray a non diegetic slow piano melody begins to play, which is then

accompanied by a voice over of Ray. As the voice over continues, certain sentences of

dialogue represent different parts to his story. When the protagonist speaks the verbal code of

dialogue “and I thought if I survive all this” is heard. As he says this, the spectator sees the

landlady dressed in white connoting a guardian angel watching over Ray. Also the non

diegetic voice over reads “at least in prison” the spectator sees a shot of a mugger connoting

the relationship between theft and prison. As the protagonist is then loaded into the

ambulance, the non diegetic music builds up to a climax and then as the scene cuts to a black

screen, the music abruptly stops with it. As well as ending the film, this synchronous verbal

code could connote an end to Ray’s life.

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AS Film Studies – FM1: Exploring Film Form

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The two micro features analysed in this essay both achieved a strong interaction between the

text and spectator, particularly through he use of sound. With the accompanied synchronous

sound coming from the gun shots the spectator is thrown into the scene enabling them to

‘escape’ reality according to Katz’ Uses and Gratifications - and see the scene unfold as if

they were there, adding more impact to the scene. According to Steve Neale “Genres are

instances of repetition and difference”, within this text certain conventions of this type of

genre are “repeated”. The non diegetic music adds to tension and suspense within the text as

the dark tone connotes violence. However there is a sense of ‘difference’, which is conveyed

through the ending music where the ‘villain’, according to Propp’s character roles, has been

defeated. The same dark tone music is played as this continuation of saddened music confuses

the spectator because it should now be a new equilibrium according to Todorov’s three part

narrative. The difference, however, of the non diegetic music implies the disequilibrium was

never resolved leaving the spectator perplexed, and desiring to know what outcome there is

for Rays life.

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