'Kill Bill Volume 2'
'Kill Bill' volume 2 shows the bride in two different ways, either as a heroine or as a victim. Through using camera, lighting sound and mise en scène the bride is shown as strong when she bursts through the ground to freedom. However these settings can also show her in a very weak light when she is screaming trapped in darkness.
In scene one she is breathing shorter and quicker indicating that she is scared whereas in scene two she takes deep breaths to signify calmness. Both scenes use non-diegetic music. In scene one the music is western which juxtaposes with death whereas in scene two the music matches the screen action. There are increases in tempo and uplifting music plays, which informs us that she is more likely to survive. In scene one the nail banging is emphasised to highlight that she is being locked in. The sound of the car leaving shows that she is alone and left to die. The sound of the soil is exaggerated when it is thrown on the coffin; the sound is violent and cacophonous. In scene two the sound synchronises diegetic sounds at breaking through the coffin and the earth (as she is metaphorically reborn) and triumphant music is playing. The music stops and returns to diegetic sound starts again (the bride gasps for air).
The scene starts with the bride lying on the ground with an aggressive man looking down at her where she looks weak and bruised. However in scene two her facial expressions indicate a determination to escape; she is calm, thoughtful - this is signified through her ability to find a knife and cut herself free.The coffin reinforces her being buried alive and her being tied up and helpless signify she's going to die. In scene two her determination, punching the coffin with blood coming off her hands, represents strength and focus to escape. In scene one the setting of the graveyard reinforces the fact that the scene is desolate. When the bride's fist pumps out of the ground it shows she is liberated from the coffin ending the scene.
The lighting in scenes one and two differ with strong lighting which makes her look brave and feeble lighting which makes her look weak. In scene one the lighting is dark before the bride goes into the coffin and it stays dark when she is inside the coffin; it is lit up only by torch light. But there is no lighting when she is being buried and there is only sound to emphasise that she is stuck. In scene two the lighting is brighter and has a glow which suggests that she will escape and is no longer scared. When the bride escapes there is key lighting on her.
The camera starts with a close up of the bride face looking angry before she is put in a coffin. The camera shows a close up of the nail and the hammer showing that she is actually trapped. The camera then closes up on her eyes which look terrified and then films the aggressive man as he closes the coffin. There is then darkness and we can only hear, which is a good effect to highlight that she won't get out. In the second scene the coffin seems larger indicating she will escape. The camera pans along her body as she is escaping- when she gets a knife out . The camera films her eyes again but now they are no longer scared. The camera does a crane shot to highlight where she is, in a graveyard.
In conclusion, contrasting settings are used to portray her both as a heroine and a victim. The same is true of the music and the sounds which accompany the shots. These two scenes show very clearly how editing can change our perception of character during filming.
In scene one she is breathing shorter and quicker indicating that she is scared whereas in scene two she takes deep breaths to signify calmness. Both scenes use non-diegetic music. In scene one the music is western which juxtaposes with death whereas in scene two the music matches the screen action. There are increases in tempo and uplifting music plays, which informs us that she is more likely to survive. In scene one the nail banging is emphasised to highlight that she is being locked in. The sound of the car leaving shows that she is alone and left to die. The sound of the soil is exaggerated when it is thrown on the coffin; the sound is violent and cacophonous. In scene two the sound synchronises diegetic sounds at breaking through the coffin and the earth (as she is metaphorically reborn) and triumphant music is playing. The music stops and returns to diegetic sound starts again (the bride gasps for air).
The scene starts with the bride lying on the ground with an aggressive man looking down at her where she looks weak and bruised. However in scene two her facial expressions indicate a determination to escape; she is calm, thoughtful - this is signified through her ability to find a knife and cut herself free.The coffin reinforces her being buried alive and her being tied up and helpless signify she's going to die. In scene two her determination, punching the coffin with blood coming off her hands, represents strength and focus to escape. In scene one the setting of the graveyard reinforces the fact that the scene is desolate. When the bride's fist pumps out of the ground it shows she is liberated from the coffin ending the scene.
The lighting in scenes one and two differ with strong lighting which makes her look brave and feeble lighting which makes her look weak. In scene one the lighting is dark before the bride goes into the coffin and it stays dark when she is inside the coffin; it is lit up only by torch light. But there is no lighting when she is being buried and there is only sound to emphasise that she is stuck. In scene two the lighting is brighter and has a glow which suggests that she will escape and is no longer scared. When the bride escapes there is key lighting on her.
The camera starts with a close up of the bride face looking angry before she is put in a coffin. The camera shows a close up of the nail and the hammer showing that she is actually trapped. The camera then closes up on her eyes which look terrified and then films the aggressive man as he closes the coffin. There is then darkness and we can only hear, which is a good effect to highlight that she won't get out. In the second scene the coffin seems larger indicating she will escape. The camera pans along her body as she is escaping- when she gets a knife out . The camera films her eyes again but now they are no longer scared. The camera does a crane shot to highlight where she is, in a graveyard.
In conclusion, contrasting settings are used to portray her both as a heroine and a victim. The same is true of the music and the sounds which accompany the shots. These two scenes show very clearly how editing can change our perception of character during filming.
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