‘How far does La La Land demonstrate a constant shift between passive and active spectatorship? Refer in detail to at least one sequence.’ (40 marks)

The opening of ‘La La Land’ can been viewed on a passive level to seem absurdly happy with the upbeat diegetic music, the bright colours, and synchronised dancing. However, an active spectator would see beyond this appearance, and find the true meaning of the scene. The somewhat perfect aspects of the scene contrast the harsh reality of making it in Hollywood, therefore being a representation of LA and what it’s really like. For example, the scene is edited to appear as though it’s taken in one shot, which would seem perfect and dreamlike. However, the cuts are actually hidden in whip pans suggesting that everything is not as perfect as it all seems on the surface. Plus, as they all sing on the runway, the traffic jam can be interpreted by an active spectator to be a visual metaphor for what it’s like trying to make it in LA, it’s difficult and there’s not enough space for everyone. Moreover, the diegetic song may sound upbeat and happy, but the lyrics all suggest a more negative side to the situation including what they’ve given up on to try and make it. Meanwhile, there is a synchronised dance number (an element of the musical genre) again suggesting perfection which contrasts to the reality which they express in their song. In terms of responses, I think the preferred reading of this scene is to understand the true nature of making it in LA, and to consider the upbeat music, perfect looking cinematography and the use of bight primary colours as somewhat ironic. However, the primary colours do also give to the scene in other ways because of their connotations. For example, the use of red showing passion like the woman’s dress.

However, the opening scene of ‘La La Land’ also has passive spectatorship in terms of the film exploring the old and new, specifically old and new film. The opening shot is in black and white which is reminiscent of classical Hollywood, it then becomes colourful being suggestive of the modern film industry. There’s also an accidental Marilyn Monroe reference, which they decided to keep in because of said reference, where a woman’s dress blows up like Marilyn Monroe’s did in the film ‘The Seven Year Itch’, which is one of the most iconic bits of cinema ever and so using this moment was a perfect way for the film to continue exploring the binary opposition of the old and new, as well as traditionalism and progress. An active spectatorship may be required to explore the ideas presented regarding these binary oppositions and consider how the film is exploring the conflict and compromise in creating new art in terms of the old and the new. For example, the Cinemascape writing cannot be fully seen until the twin wipe and in the process it becomes more colourful, this editing and mise en scene is suggestive of the old new being co-existent, but also how there’s conflict as they can’t both exists at the same time without compromise. However, the theme of individuality suggests the importance of individuality in creating art and it not just being about traditionalism and/or progress. The different genres of diegetic music, and the performances of different dancing shows this individuality between them, and how it’s important, as well as being a good representation of LA.

The preferred response to the Messengers scene is to understand how although Sebastian is playing for a big and appreciative crowd, it’s not his dream. A passive spectatorship can see this in Mia’s performance, and as a spectator would align with her. Her shocked face paired with the harsh blue lighting with connotations of coldness rather than the original yellow lighting, all suggest that she is empathetic but also disappointed that Sebastian is dedicating so much time to a career that isn’t his passion. Sebastian’s performance can also be interpreted by a passive spectator that he isn’t where her wants to be or should be. Whereas in the restaurant he played passionately now he plays with one hand in his pocket. It makes sense to refer to the restaurant scene, as the opening of the Messengers performance has Sebastian under spotlight which is reminiscent of the moment on the restaurant where it identified how engrossed he was in his art. Now, the screen is flooded with bright and colourful in your face lights, a visual representation that this isn’t his dream, and he notices how Mia is lost in the crowd. Passive spectators can also pick up on this due to the commercial and over the top performance such as the ridiculous dancers, the very colourful and bright lights, and the synth. The synths diegetic noise is painful to listen to, again suggesting that this isn’t a good place to be especially for Sebastian.

However, the Messenger’s scene requires an active watch from the spectator as well in terms of the representation of women. The film has been criticised for Mia being displayed as the spectator and Sebastian as the performer. A passive spectator may feel this way, but an active viewer would feel differently and get the preferred reading rather than the oppositional. Not only does Mia perform plenty, but she never passively spectates art. She notices the jazz music in the restaurant which requires attentiveness and knowledge, and in this scene her emotions are clear. Mia doesn’t clap along like the rest of the crowd she is independent and has her own opinion which she is quick to tell Sebastian without hesitation. Plus, when Sebastian doesn’t keep the relationship equally balanced by coming to her play, she ends the relationship. Furthermore, Mia represents progress and the new in the binary opposition of the old and new (traditionalism and progress), as she creates new art like her one woman show and Sebastian represents the traditionalism/old, he rewinds his tapes and wants to stick with classic jazz. This could be why Mia is seen watching him more than he’s seen spectating her because progress tends to be inspired by the old while keeping individual, whereas the old is just individual, this is an active viewing of the scene and probably the preferred reading or maybe a compromised reading of the scene/binary oppositions that run through the film.