You are on page 1of 2

Sin City Essay Jackie Boy is first shown demanding entry into the Shellies house.

He is shown to be an evil character through the extreme shadowing around him, as this represents danger and implies to the audience he is dangerous. The camera is placed at a low angle so that he appears more dominant and powerful, foreshadowing his threatening nature and the violence he partakes in during the scene. He is dressed in pure black, as darkness has negative connotations. He is shown to be surrounded by a group of men, which shows his leadership, and therefore his power over Shellie. Whereas Shellie is shown dressed in pure white, which gives the impression that she is a good character, as white represents innocence. This allows the audience to understand the clear difference between the characters and to be able to sense their nature from the beginning of the film, without having to wait for how they act. Shellie is shown to be confident as long as Jackie Boy is on the other side of the door, answering him sarcastic comments. However, after letting him in she shifts from being bold and witty to scared and powerless. This implies that she was niave to Jackie Boys power over her, and when seeing him she regrets the way she spoke to him earlier. The positioning of the two characters show the relationship between the two: Jackie Boy stands very close to her, and she looks uncomfortable with this proximity. This position also shows the contrast in physical size between them, as Jackie Boy towers over her. This tells the audience that it is definitely Jackie Boy who is the dominant person in their relationship, and has complete power over her. The camera circles round the silhouettes of Jackie Boy and Shellie on the wooden floor. A long shot is used to show the importance of what they are saying at the moment, and adds tension to the moment because the audience are left waiting. This wait insinuates that something drastic is about to happen at the end of the clip, which is that Jackie Boy hits Shellie. Him doing so gives the audience an insight of their relationships, and gives the impression that there has been a history of abuse between Jackie Boy and Shellie, which allows the audience to have a clear understanding of why she is so afraid of him. The audience will wonder what else Jackie Boy will do if he is willing to hit a woman who cannot defend herself, and shows he has no morals or sense of right and wrong. It establishes Jackie Boy as a completely evil character. A high angle shot shows Shellie on the floor. This gives the perspective of Jackie Boy and his friends, who consider she is beneath them, and shows her loss of power and her insignificance in Jackie Boys mind. A close up shot of her face is shown with her make up running. The shot forces the audience is focus on completely on her distressed expression, and causes them to feel sorry for the character and identify with her. After Jackie Boy leaves the room, Shellie is shown reverting back to her confident self by grabbing a knife and pointing it at one of Jackie Boys group. This shows that her only real fear is Jackie Boy, and is naturally a strong character that has been beaten down by him. She refuses to be hurt or dominated by anybody but him. In the other room, Dwaine sneaks up behind Jackie Boy and starts to drown him. Dwaine is intelligent enough to take on Jackie Boy alone, knowing that he will be unable to fight all of his friends as well. It also shows his bravery and his love for Shellie, as he attacks Jackie Boy as an act of revenge on her behalf. A long camera shot is shown of Jackie Boy in the water, which adds tension and the audience have to wait to see if Dwaine will pull him back out before he dies. Dwaines face is shown from a low angle, showing the power and dominance he has over Jackie Boy, who up until this point was considered the most feared character of the scene. The light behind him highlights him as the hero of the scene, showing that he has stood up for Shellie and is overall a good character. The shot

shows the victory of the moment.