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Analysis of Cinematography in Moonlight by Barry Jenkins

The moonlight is a contextual outlook on the elements influencing boys' interactions with

the educational and legal systems. It is nothing new that boys are an issue in America's school

system. More than a century has passed since the "boy issue" first perplexed educators and social

critics. Current discussions regarding why males, particularly those of color, perform poorly

academically point to a variety of causes, including insufficient and harsh schools, disintegrated

homes, poverty, and cultural problems. In providing a critical background on these arguments,

Julia Grant demonstrates that it is a recurrent problem in American education that tells a lot

about gender and learning in the present. Since the introduction of compulsory education,

educators have struggled with how best to handle boys from immigrant, underprivileged, and

minority families. The initial worry that the American tradition of manhood disregarded

academic performance in school led public schools to promote vocational education, organized

athletics and vocational courses, as well as evening and vacation continuation schools.

A young African American guy in Moonlight, a film directed by Barry Jenkins goes

through three phases of growing. The movie makes use of coloring to convey the plot's mood

and the thoughts of the protagonists. The cinematography of Moonlight employs striking images

and bright colors to evoke strong feelings. One of the most crucial elements of the

cinematography of Moonlight is the visuals particularly the lighting. The most crucial aspect of
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Moonlight's cinematography is how it establishes not just the relationships between the people

and their surroundings, but also how significant those relationships are to the story's central

subject.

The major battle for the protagonist is between who we really are and what our

surroundings want us to be. The movie is divided into three chapters: "Little" represents his early

years, "Chiron" represents his adolescence, and "Black" represents his formative years. These

episodes, which each focus on a distinct stage of the main protagonist's development, tell the

story of his consciousness. Juan, the mentor, and Chiron's position in the community are

established at the opening of the movie. The camera seamlessly follows Juan as he is presented.

The entire scenario is captured in a single picture, demonstrating how effortlessly Juan integrates

into the neighborhood. The camera pans around the people in the scene while Juan speaks with

his worker and observes him turn away a customer. Throughout the movie, this arc image is a

recurring element.

Later, during a baseball game, it is the camaraderie between young schoolboys. Chiron

is shunned by his community because he is homosexual. The first scene is followed by a

quick cut of Chiron being pursued by his bullies. As it pursues Chiron, the camera shakes and

creates a fearful atmosphere. It now stands for his persecuted and anxious world. The taunts

from the bullies get louder and louder as Chiron hides. Another example of how distinct their

settings are is when the camera orbits Chiron, but it is very closer to the character rather than

at a fair distance as it was in Juan's scenario. Each character's position in the society is also

demonstrated through the variance in sound design between the two situations.

Following Juan's cordial exchange with his employee, Chiron's bullies yell harsh

comments at him. Chiron is victimized by his peers, whereas Juan is admired by them. Chiron
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goes around after the bullies have left and discovers a syringe, hinting at his line of work in the

final act of the movie. Lights flood the space as Juan takes down the house's planks. Juan has

physically and figuratively barged into Chiron's haven and is trying to soothe him by giving

him food. Chiron and his companion are being trapped even more by the advancing camera. In

order to immerse the audience in the action, the camera is constantly positioned as near to the

performers as is practical. When Chiron and his partner address the camera directly as though

the character is speaking to it, a fourth wall is broken. It draws the viewer into the scenario and

allows them to experience the depth of the character's emotions. This allows viewers to see the

characters' eyes and develop a stronger emotional bond with them.

Jenkins takes on the subject of discrimination using a variety of symbolism to convey the

transformation of Chiron from a juvenile to a man. The protagonist is shown being trained how

to swim in the water by his father model Juan in a scenario that effectively illustrates this. The

structure of this standout moment contrasts the preconceived notion that Juan is a drug dealer

with gang ties as he assumes the role of the protagonist's father. To show how people of color are

treated unfairly, racism is also replicated.

Moonlight was produced in Liberty City, Miami, where the surrounding buildings are

pastel-colored and the vegetation are tropical green. The vibrant colors utilized are distinct from

the often dark and harsh hues used in American independent films that deal with societal themes.

The homes are pastel colors, the ocean is a blue-green tint, and Chiron's mother is screaming at

him while being showered in bright pink light. Chiron must make a difficult decision when Juan

asks him to train him how to swim. The camera jump cuts when Chiron eventually joins him,

and it is no more a long view as Chiron starts to enjoy himself. The scenario questions what

black dads are meant to be like as the Atlantic Ocean is an intense blue.
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This scene was lit by natural light, and the air's dampness gave the performers'

complexion a softer sheen. The characters' emotional state is presented as the sky gradually

darkens in contrast to the ocean's transparency. Despite having a glum countenance, Chiron's

mother is made to stand out in brilliant pink. As Chiron's mother exits, she keeps staring at

Chiron and enters the room through the entrance where the pink glow was coming from. This

illumination provides the character dimension so that she is not just a stereotypically bad mother.

By contrasting the horrible events that occur to protagonists with bright, beautiful backdrop

lighting, lighting is utilized to challenge prejudices.

Chiron is shown in the final image of the movie standing in before of the Atlantic in the

moonlight. Chiron steadily moves in front of the camera until he turns to look beyond him. When

the camera stops, Chiron gestures for the audience to join him. Director Jenkins' use of coloring,

camera angles, and illumination to emote with the protagonists in Moonlight creates a

breathtaking experience. Jenkins crafts a narrative that is unique to every viewer using all the

camerawork techniques available. The producer employed lighting and camera angles to

challenge common misconceptions about black population.