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An Introduction to Textual Analysis
All films are carefully constructed combinations of five ‘codes’:
Cinematography (use of camera); Sound (music, sound effects, dialogue); Mise-en-scene (the staging decisions that involve choices regarding colour, costume, location, décor, lighting and props); Editing (the way a sequence is cut together and the length of time shots are held for); Performance (the way actors use body language, movement and facial expression)
Each of these five codes is carefully used by filmmakers to generate the meanings, messages and affect that they want the audience to understand. As Film students we need to be able to decode films and sequences within films, considering the ways in which the feelings and ideas that occur within us as we watch have been created.
ANALYSING THE OPENING SEQUENCE OF THE KING'S SPEECH
Click on the embedded link to watch a sequence from early in The King’s Speech (Tom Hooper, 2010). In this phase of the film the soon to be King George, played by Colin Firth, is giving his first speech to an assembled crowd. George has a pronounced speech impediment and this task is therefore extremely daunting.
As you are watching consider the following:
How does the use of camera (especially the composition of the shots), the staging decisions involving lighting, colour, costume, location and body language, and the use of sound help us to…
understand what an ordeal this is for the protagonist?
feel as uncomfortable as he does?
generate an emotional response for his predicament?
In order to help you focus, pick four of the images from the embedded sheet of stills from the sequence and do your best to explain what strategies the director, Hooper, is using to create these feelings of anxiety.
the king's speech.docx.pdfAfter you have picked out some ideas of your own, take a look at the notes beneath the images below, each of which hints at just how many interesting and important decisions go into the construction of every scene in every film or television show. Very soon you'll be able to 'deconstruct' or 'decode' film and television texts better than anyone else in the country!
The centrally framed close up focusses on George's anxious expression, with the frontal composition transmitting his unease to us very directly. This creates what is termed 'emotional contagion', encouraging the audience to 'catch' his mood and share in it. George also appears very alone due to the empty negative space to his left and right. The director, Tom Hooper, had the costume department produce an over-large suit jacket and hat to make Colin Firth's character appear swamped, a little boy lost in daunting circumstances.
One of the most important shots in the sequence, this is a point of view shot. It offers a first person perspective that puts the audience in George's position, looking through his eyes. No longer are we a distant viewer, now we are fully immersed in the events as he makes his slow walk forwards. The low angle looking up at the looming microphone makes it seem very intimidating, while the walls and roof create what is called 'closed framing', emphasising how trapped George feels. The cold blue/grey colour palette has been created by Hooper's use of filters during the editing process. These tones suggest the situation is bleak and unpleasant.
Hooper presents George looking for support from his wife, Elizabeth. That in itself adds to our impression of how vulnerable and nervous he feels. However, because of the way the shot is set up it appears as though George is looking at us, reaching out to us, and therefore we respond with sympathy to this man who seems to need our help.
Another close-up, and this time a reaction shot. Elizabeth responds to her husband's plight with a look of great sadness. This close up 'keys the viewer in' to how we should be feeling at this moment. The sombre, minor key music throughout also acts as a mood cue, prompting us to respond with sympathy to George's situation.
Sometimes its not just what you show an audience but how long you show it for. Here, the editing pace slows right down, the shot is held for a long duration and we can tell what a struggle it is for George to get his words out. This moment and others like it is drawn out (protracted) until it becomes excruciating.
Another point of view shot placing us in George's shoes. Once again the microphone is presented as the enemy. The staging, with everyone turned to face George deliberately evokes the imagery of nightmares, where everyone is watching, everyone is waiting. The flashing red light uses red's connotations of danger and peril. We hear the diegetic sound (sound from within the onscreen world) of a single horse neighing, and this solitary sound makes it clear just how quiet things are as everybody waits with bated breath.
Cut to the reverse angle to show the opposite shot set-up. Notice how the crowd of film extras have been costumed in greys, blues and browns to ensure that the whole scene seems bleak and solemn. Their eye lines all lead to a centrally framed George - he is everyone's focus and horribly on the spot. The shot is held for a long enough time to allow the weight of expectation to become very apparent.
This medium close-up is composed in a way that accentuates George's discomfort and powerlessness. The crowded nature of the shot and the positioning of other people makes him seem trapped. The way the steps fall away behind him makes the situation seem more unstable and precarious. Meanwhile, Colin Firth is shunted towards the traditionally weaker right hand side of the frame, adding to the presentation of his powerlessness. Performance strategies are important here too: Firth's slouched shoulders suggest his lack of confidence at this moment.
Stereotypes are often used by filmmakers who need to make their points quickly. This man's cap, together with the costumes of those who surround him, denotes that he is working class. His lowered eyes communicate his sympathy for George or, because elements of film are often open to interpretation, it may suggest how stunned he is to discover that this man he looked up to is not the strong, powerful leader he thought him to be. Either way, the emotion is increased as we witness George losing respect moment by moment.
This shot is designed to contrast with the previous shot. Now we see the powerful upper class men who run the country. Their costumes denote their status and wealth. Instead of the sympathy exhibited by the working class man, here we see their annoyance and scorn. By cutting from one shot to the next, Hooper instantly suggests that poor George is beloved of the 'ordinary' people but will be judged very harshly by those in power.
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