How mise-en-scene shows superiority complexes

through the eras

I have chosen mise-en-scene as my main area of investigation and focused that area by
looking at how cinematography in films has demonstrated superiority complexes throughout
eras. Mise-en-scene, by definition, is the arrangement of scenery, props etc. on the stage of a
theatrical production or on the set of a film. However, is also about the science and art that is
used to define emotions with colour, locations, and acting. In takes years of practice and
creativity to create a cinematic masterpiece, which is why it fascinates me so much. Mise-en-
scene uses all kinds of definitive techniques, paired with the lighting and layout of the scene
to tell the story of the film visually in order to communicate the emotions in the film.

The first film I looked at is ‘The Boy In The Striped Pyjamas’. This film was first an
acclaimed novel which was then adapted into a film by director Mark Herman and director of
photography Benoît Delhomme. For this film I looked at the religious superiority during the
early 1900s. This film is set in Nazi-occupied Poland during The Holocaust. Delhomme was
very specific with the way things were set out in the film. One thing that caught my eye the
most was the scenes filmed at the fence with Bruno and Shmuel. As seen below there is a
very distinct divide between the two boys. Firstly, when the boys first meet Bruno is stood
above him, illustrating the belief of extreme antisemitism in the Nazi regime. However, as the
boys grow closer, they begin to level out more, demonstrating the ability to put aside
differences and be equals. Another thing I noticed is that Delhomme used colours in order to
connote the idea of religious superiority that exists between these two boys. The saying ‘the
grass is always greener on the other side’ can be used to explain why the colours on each side
of the fence differ, this is because the colour use follows the idea that German Christians
were superior to Jewish people.

The clothes the boys were also explain a lot about them. For example, Bruno is wearing very
dapper and smart clothes with block colours when he first meets Shmuel. But when he next
meets Shmuel, he’s wearing a light blue jumper and grey shorts. The softening of his colour
palette suggests to the audience that Bruno is beginning to align with Shmuel’s character
more despite the barrier between then, aspects of each character begin to slowly infect the
other.

The next film I looked at was the 1961 ‘West Side Story’. In this film I focused on the racial
superiority happening in post WW2 America. This film is a musical film based in the Upper
West Side of New York in the 1950s. A lot of the Americans at the time had issues with
people migrating there after the war. The main two gangs The Jets, a group of American boys
living in the area, and The Sharks, a group of Puerto Rican boys living in the area, harbour a
lot of tension between them due to the racial split and this causes a lot of great face off scenes
created by cinematographer Daniel L. Fapp. One element I noticed between the two gangs
made by Fapp is the costume. The sharks tend to wear reds and blacks, this is used to make
them seem dangerous. While the Jets can be seen wearing oranges and yellows. The fact that
while these are different sets of colours, they are all in the same warm colour palette
illustrates to the audience that even though the gangs have their differences they all come
from the same place. Their clothes being in the same colour palette also foreshadows the fact
that in the end the two gangs blend together and work together. Maria’s dress is a costume
that has some very interesting mise-en-scene. The dress itself is white and red, these colours
put together connote that even Maria’s innocence can be corrupted by prejudice.

Apocalypse Now was released in 1979 following Americas loss is the Vietnam war. Despite
the social unrest in the country ,caused by the unfortunate outcome and significant amounts
of the people in the community believing that the war was futile and loved ones were lost for
little to no reason, Francis Ford Coppola decided that it was the right time to use the film to
widely spread his anti-war message. Coppola makes it obvious that innocence is corrupted by
war throughout the film. He does this in two pivotal scenes; the first being as we enter
Vietnam and we see a birds eye view of children playing in a playground. An American
helicopter then proceeds to attempt to land on said playground, forcing the children to run for
their lives into the nearest building, screaming, the teacher then runs out and throws a bomb
into the helicopter. We, as the audience, instantly get the idea that someone who is meant to
be a harbinger of innocence performing such a deadly act through lack of options and
judgement. The action of the characters and how the children are so believably affected by
the situation forces us to feel remorse by the lives destroyed. Another time in the film when
the actions of the characters force us to question the role innocence plays in war, Martin
Sheen’s character Willard finds a native’s boat, when he goes aboard the boat to check it for
weapons he comes across a woman. The woman is very obviously hiding something from
him and he shots her point blank without giving her a chance to either explain for defend
herself. After shooting her Willard reveals that the woman was not in fact hiding a weapon
but was hiding a golden retriever puppy. This puppy then becomes a symbol of the innocence
that is destroyed by war, it also becomes a representative for the naivety of Willard and his
crew throughout the rest of the film.

In conclusion, superiority struggles are futile, people enjoy the fighting and the adrenaline
from hatred, the conflicts themselves last minimal amounts. As seen above as each film from
about has about 30 years in between when they were based. One common thing I noticed
which I want to use in future productions is the symmetrical shots that show the divide
between the groups. Despite ‘The Boy in the Striped Pyjamas’ being made most recently, but
being set furthest in the past the props, costumes and set are most accurate to the time is set
because of the technical advances that we’ve achieved in a matter of years.