3. To what extent do ‘La La Land’ and ‘Beasts of the southern Wild’ share a similar treatment of film form elements?

One way that Beasts of the Southern Wild and La La Land share a similar treatment of film form elements is through the fact that they both utilise a film form technique as a motif. For example, in BOTSW, there is the motif of the mise en scene of the aurochs. For example, when we see them before the hospital sequence. This element of mise en scene requires an active spectator as the spectator has to question what they represent. One response is that they represent Hushpuppy’s childhood, while another would be that they represent the environmental problems therefore linking on to the ideology of environmentalism as they came from the melting ice. La La Land also uses a film form element as a motif, but instead it uses cinematography. La La Land uses the spotlight as a motif to represent its messages about art and other ideologies. For example, when Mia first hears Sebastian play in the restaurant, the spotlight singles him out emphasising how he is lost in his art, his passion and showing his passion through his performance. This contrasts to later on in the film during the Messenger’s sequence, originally Sebastian has the spotlight on him, but it soon disappears as the screen gets flooded with bright coloured lights. An active spectator could respond to this by considering how the lack of the spotlight is another way that the film is showing us that this isn’t where Sebastian should be, he has no passion for this. Another way that the film shows this is through Mia’s performance. After she hears the music, we get a mid-shot of her displaying her strong negative reaction to the music. One response to a passive spectator could be that she is disappointed. She’s aware that it isn’t Sebastian’s dream, and that his heart won’t be in it. This strong reaction goes against the feminist critiques that criticise the film by saying Mia is represented as the passive spectator, as she clearly isn’t passively watching. Mia also gets the spotlight during her audition, which not only contrasts to the montage of her previous auditions, but it again shows her passion for her art and how she’s lost in it.

Both films use film form elements to get across binary oppositions to the spectator. One example of this is the binary opposition of the Levee and the Bathtub in BOTSW. For example, we are often positioned with the Bathtub rather than the Levee, even when the shot is a extreme long shot of the Levee it is at a distant and lacking colour suggesting our separation from it, as well as contrasting to the colourful Bathtub which we are aligned with. This links in with the films exploration of environmentalism as Hushpuppy’s voice over calls the factories ‘ugly’ and the Levee’s lifestyle contrasts greatly to the environmentally friendly lifestyle of the Bathtub as shown through the opening montage meaning we as spectators are aligned with the Bathtub. We are also inclined to be aligned with the Bathtub and not the Levee when the people come and take them to the hospital. Their mise en scene of the clean shirts makes them seem like outsiders, and the foley helicopter sound makes it feel like an invasion. Interestingly, not only are we aligned with the Bathtub we’re also inclined to compare our lives to there’s mainly through the opening montage which shows their strong community of them all being together, but also the negatives such as the racing babies. A preferred response is probably the negotiated response which acknowledges the good and the bad. Film form is also used to get across a binary opposition in La La Land but in different ways. La La Land explores the binary opposition of traditionalism vs progress. This binary opposition links into the themes of compromise and conflict, there is conflict and compromise between traditionalism and progress.  Mia represents progress, when we first see her, she is learning new lines and she’s always willing to get influenced by new things like her newfound love of Jazz. Sebastian represents the past, when we first see him, he is seen rewinding his tapes of his old music; he’s stuck in the past. An active spectator could argue that this is a reason why they didn’t end up together, if they represent these two things, they can’t both exist fully together, there will always be conflict and compromise and one of them will have to exist over the other. This is shown through the film form in the fantasy sequence at the end of the film, with all the references to old and newer movies like when Mia gets handed the red balloon it’s almost as if it’s saying how nice it would be if we could have both traditionalism and progress and not have to pick, but in reality it’s not possible and so they separate. This scene can also be seen from the perspective of the romance genre which the film form also gets across, the fantasy sequence was a ridiculously happy Hollywood ending that couldn’t actually happen, only in movies, which they literally sit down and watch. In reality, it ends on a smile.

Both films use non-diegetic and diegetic sound to get across meaning. For example, in BOTSW, the ending uses music to convey messages. Before Hushpuppy turns around to face the aurochs there is powerful and building up non-diegetic music and when she turns around it transitions into the non-diegetic music box music which is representative of her childhood. This paired with the dialogue of ‘I gotta take care of mine’ could be interpreted as an active spectator of being representative of Hushpuppy saying goodbye to her childhood, as well as her standing up to her fears as the aurochs can be interpreted as a metaphor for her fears and troubles. This scene brings the coming of age element of the film to a close as it’s a signal that she’s grown up now, she’s ready to face her fears and take care of people. La La Land also uses sound to convey meaning such as during the dinner scene. The diegetic music of the upbeat version of ‘City of Stars’ has connotations of romance and happiness, which contrasts to their eventual raised voices and arguing. When the music suddenly ends leaving uncomfortable silence, a passive or active spectator could feel this is representative of the end of their relationship. The diegetic fire alarm also suggests this, as it suggests their relationship is no longer nice. This is supported by the use of colour, the yellow from the candle lights starts as nice and intimate but it’s meaning changes to frustration as the scene plays out. BOTSW also uses lighting, such as the fairy lights during the flashback sequence which allows the spectators to see the place from a child’s perspective which is why the ‘floating catfish shack’ appears loving and sweet.

Both films use film form elements to get across the theme of independence.  For example in the BOTSW ending there’s the diegetic dialogue of ‘I gotta take care of mine’ said by Hushpuppy which suggests that she is independent and will help to look after her friends and family. The opening also suggests her independence through mise en scene as she lives in a separate house to her father. Some spectators might have a surprised response to this as she is only young yet living alone. The films theme of independence links into its theme and exploration of self-reliance. For example, when Hushpuppy’s father rejects the treatment he is offered at the hospital. La La Land also uses film form to get across the themes of independence. During the opening the song lyrics to ‘Another Day of Sun’ express how these people have left their lives behind to try and achieve their dreams; this is representative of Mia which is one reason why she is the protagonist. This song may sound happy, but it’s lyrics suggest a hard side to making it in Hollywood which is supported by the mise en scene of the traffic jam; this is the films representation of LA. The lyrics link into the theme of independence, which is further supported by Mia going against what she is told by her friends (to look for someone in the crowd to help) and instead she writes a one woman show. The theme of independence links into the theme of individuality which is also shown in the opening. The range of peoples different diegetic music taste, as well as their different performance in terms of their dancing shows their individuality which a spectator would hope would allow them to make it as they are individual. But again, the scene suggests otherwise, it may seem dreamlike with the apparent one shot but it may be just a dream for these people, as shown by the cuts being hidden in whip pans suggesting the harsher side to LA meaning these peoples independence and individuality might not be enough.