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The Fallen Angels Question didn’t work for some reason, so here it is:
Section D: Film movements – Experimental film (1960-2000)
62) To what extent is the film you have studied recognisable as the product of an auteur? [20]
Fallen Angels is very recognisable as the product of the auteur Wong Kar-wai. For example, his recognisable use of film form. One of the main examples is his use of non-diegetic pop songs throughout the movie, not for ironic purposes, but to connote certain feelings to the audience. Another main example is his use of rain, which he uses to bring characters together in Fallen Angels, furthering the themes of loneliness and togetherness. The mise-en-scene of rain is also used in his other films like ‘The Grandmaster’. Furthermore, he has a specific use of editing in terms of time manipulation to convey meaning. Such as, the use of step printing, like during the assassination sequence, which to partially used to connote a sense of coolness to the character. He also uses slow motion, like the slow motion of the train dirivng past during the opening, which has a sense of lonliness. Simialrly, his use of cinematography also does this. His use of wide angle lens and deep depth of field shots create the sense of sepeartion, as the character at the front is distant from those behind them, creating the sense of lonliness and need for connection with other human beings. These themes can also be seen in his film ‘Chungking Express’, which is the sister film to Fallen Angels, which was initially the third part to the movie. Another connection between these movies are the actors. Interestingly, the same non-actor was used in both, which is an experminetal attitude to film making.
Narratively, Wong Kar-wai’s work tends to be experimental, which is part of his auteur signature. Such as, instead of the narrative focusing on plot and explantaion, it focuses on character, themes like lonliness and connection, and emtions, as he uses expermintal narrative devices and narrative structure to convey very real human emotion. Such as, the narrative device during the opening of narrative repeition of two characters following the same path through the station, then both picking up the same key (close up) and enetring the same house but at different times highlights their lonliness and lack of close connection. This is instead of narrative devices being used for expostion, which most films have during the opengn equilibrium, but Fallen Angels does not. Throughout, instead of explaining who the charcaters are, and why they do what they do, like why the man assisinates people, Wong Kar-wai doesn’t tell us, and instead focuses on the emotion. This could be why the ending equilibrium is open instead of a closed ending, as the two characters on the same bike, with her holding on to him, is suggesting a closness between the two, even if momentary, which in a way sums up the themes of the films and the emotions of the film rather than any plot. During this ending, the lighting in the tunnel is green, and green lighting was also iused earlier when the son was spying on his dad watching the footage he filmed. As Wong Kar-wai doesn’t foolow traditional colour theory, it can be hard to intepret the exact connotations and meaning of his colour choices, but they are picked intentionaly and for emotional meaning. It’s possible due to both times that green lighting was used that it represents closeness between the characters.
Casablanca: Revision Notes
Opening:
Auteur Signature Film Form
- motivated camera movement e.g. when a subject walks past, the camera follows them*
- tracking camera – down into the city (even though it’s actually edited)
- tracking shot of some people watching the plane*
- Being shown the Bulgarian couple twice before being introduced to them due to motivated camera movement*
- Different genres – comedy (trumpet), war, documentary like, spy thriller*
Classical Hollywood Film Form
- characters have psychological motivations – they want to leave Casablanca*
- montage of refugees and people being arrested*
- document footage of refugees*
- shown some characters before we are introduced to them*
- 180 rule – when coming off of the plane*
- Montage of people being rounded up and the cutting rate reinforces the message (link to how Curtiz had fled Europe and he might be trying to show his opinion?)*
- Contrast of powerful/rich people and people in chaos being rounded up/vulnerable
- Emblem of free french resistance on papers*
Production Context
- Hal Wallis
- All shot on WB set/studios because of money*
- Budget film making – studio and model of a plane and the background is a painting (city and air crafts*
Themes and Motifs
- Theme of deceit
- motif – round up usual suspects*
- motif – plane – escape*
Representation
- no children*
- multiple languages being spoken*
Political Context
- world war 2*
- refugees*
- man was shot in front of Petain – visual criticism of vichy government. Mid-shot of Petain going down to a murdered French resistance sympathiser, French national anthem.*
- Close up of the sign – freedom equality brotherhood after the man is murdered
- Unoccupied France*
- Vichy government*
- Montage, V/O, documentary footage, animated map*
- V/O saying people in Europe are trapped and trying to leave
- Refugee crisis*
More
- ‘the scum of Europe’ has come to Casablanca, set up to be undermined later
- Structure – second shot of the Bulgarian refugees when they see the plane (maybe we’ll be on a plane), theme of escape*
Rick’s Cafe:
Auteur Signature film form
- German expressionism – lighting and strong shadows
- Purposeful camera movements – tracking shot into the cafe where it starts outside and goes inside
- tracking shot in the cafe where you see everyone then focus in on and drops down on Sam, introducing him
- Lighting – search light that passes the door – constant surveillance and danger
- Functional and off screen lighting – helps give depth to the studio
Classical Hollywood film form
- establishing shot of the location
- 180 rule – tracking shot into the cafe (?)
Production Context
- Songs are old songs (cheaper) apart from As Time Goes By
- Functional lighting – adds depth (cheaper?)
Themes and Motifs
- Rick – isolation metaphor? e.g he doesn’t have drinks with anyone
- Theme of escape and leaving Casablanca is enforced through dialogue and transit papers
- Motif – piano
- reference to the letters of transit again – reinforces theme of escape and entrapment
Representation
- multiple languages
- Sam- only named black person in the film. He isn’t equal with Rick despite being his friend (but it was progressive at the time?)
- Rick’s Cafe – place for everyone
More
- Rick’s staff and girlfriends give information on what Rick is like (not all in this scene)
- Rick’s cafe is like a sanctuary – high key lighting (?) and music
- Desperate people e.g. selling jewellery
- Money is shown as vitally important
- Reinforcement of the message that Nazi’s are bad
- We hear about Rick before we see him – anticipation, main character e.g. doesn’t care about status or drink with customers
- Cheque – 2nd Dec 1941 – just before bombing of pearl harbour
- Close up of the cheque – authorisation – he wrote OK Rick and he’s sighing off 1000 Franks – powerful
- Rick’s playing chess – intelligent but he’s also playing alone which could symbolise inner conflict
- Rick has status
- What Rick say’s goes e.g. not letting someone in the cafe
- ‘You’re lucky the bar’s open to you’ – he has his principles
- he is a cynic (said by someone else)- reinforces internal conflict
- expositional dialogue
- reference to the letters of transit again – reinforces theme of escape and entrapment
- Plot being driven around the letters of transit
Sam:
Auteur Signature film form
- spotlight on Sam
- Genre shifts – musical, wartime, romance/comedy
- German expressionism – strong shadows (e.g. big shadows of objects on the walls)
- motivated lighting – lights off when Rick puts the transit papers under the piano, highlights Sam
Classical Hollywood film form
- 180 rule
- cinematic space – tracking shot gives sense that we’re in a room
- action reaction shots between Ferrari and Rick
- Protagonist with a clear moral code and Ferrari represents unmoral code (good and bad guys)
- protagonist has clear external (Ilsa) and internal motive
- Linear narrative (one flashback to explain protagonist motivation)
Production Context
- knock on wood is an old song that they used because it was cheaper – it was already owned by WB. However, it still relates to the context, the people in the cinema and in the film have trouble. The song is saying don’t worry about your problems and be happy as well as being about luck, it’s an optimistic song that could link with Casablanca being a propaganda film.
- Hollywood was allowed to use nitrate still (silver nitrate) while nitrate was a resource needed for bombs because the government recognised film can be used for sustaining morale (escapism) and propaganda
Themes and Motifs
- motif – the piano
- letters of transit
- search light
- refugee/refugee crisis – ‘I don’t buy or sell human beings’
- luck
Representation
- the way that women and men are represented – Rick is cold-hearted to women
- no youth/children
- gender – mostly men (in the scene) – women represented as sex objects, men are the motivators (entertainer, cafe owner etc) and the women are just there
- Cast is from all around the world (many languages)
- Sam is the only black actor (named) in the film – represented as bellow Rick despite being friends. He works for Rick, he is an entertainer and doesn’t need more money or have enough time to spend the money that he already has. At the time it was a positive representation for the time, but not now.
Political Context
- knock on wood – troubles in Europe
- Dec 2 1941 (seen on cheque in previous scene) – just before Pearl Harbour
- America – isolating themselves from military involvement but financially supported England and gave them materials because they lost so many soldiers in the first world war
- Rick won’t sell/trade human beings
More
- Rick waits until the lights go out to put the transit papers under the piano
- Rick has principles – won’t sell the cafe (?) or human beings
Arrest:
Auteur Signature film form
- German expressionism – manipulation of shadow – Rick’s shadow is seen opening the safe – secretiveness
- tracking shot
- witty dialogue
- genre shift – war time, spy drama, comedy
Classical Hollywood film form
- illusion of space is manipulated despite not being a 4 walled room (pan, tracking shot, tilt and set design)
- sound completely cuts when Rick shuts the door
- control of space, editing, camera movement, sound editing is all around driving the narrative forward …
- depth of field is shallow – people in focus at the back, drinks in the front are not but comes into focus as they walk towards the drinks
- high contrast lighting
- command of space – wall or no wall
- 180 rule
- action reaction shots of Rick and Renault
Themes and Motifs
- corruption/gambling – Rick lets Renault win at roulette – foreshadowing of later
Political Context
- Rick ‘I stick my neck out for no one (/nobody?)’ – american isolation – Renault says ‘A wise foreign policy’ in return
- people trying to escape Casablanca
More
- we hear about Victor before we meet him just like we did with Rick
Ilsa:
Auteur Signature Film Form
- Change in genres – romance, war film
- manipulated shadows – shadow leaves on the walls
Classical Hollywood Film Form
- long duration shot (close up) of Ilsa (25 seconds)
- Action reaction shots – talking to each other
- functional lighting
- Soft focus and high key lighting (maybe Auteur signature)
- Shift from diegetic song (Sam playing it) to non-diegetic orchestral version (ominous – Sam,Rick, Ilsa)
Production Context
- functional lighting
- ‘As Time Goes By’ was the only song made for the film
Themes and Motifs
- motif – piano
- motif – ‘As Time Goes By’
- motif (?) – blue – Ilsa wore blue
- When Rick meets Laslow the theme repeates
- Theme (ATGB) repeats but nicer – Rick and Ilsa
- Theme repeats but not nice – war
Representation
- Ilsa treats Sam badly, she orders to play the song and sing it
- Ilsa spoken about in a certain way – ‘spoke about you in a way that made me extremely jealous’
Political Context
- ‘I put that dress away, when the German’s march out I’ll wear it again’ – Ilsa. When the film comes out the world was at war.
Flashback:
Auteur Signature film form
- motivated lighting – search light
- genre shifts – romance, war time drama, documentary footage
- motivated camera – zooms in on Rick and Ilsa when they’re on the sofa
- German expressionism – shadow of a window on the floor
- Ilsa appears at the centre of the door with light on her while wearing white, possibly like a ghost of the past coming back to haunt Rick but it’s also very angelic
- Camera tracks
- expressionist ? lighting
- Rick’s cafe – outside – search light
- rembrant lighting (top) – lighting forehead/cheeks – Ilsa
- Side lighting – Rick
Classical Hollywood Film Form
- mainly linear narrative, but a flashback that is used to explore/show the protagonists motivation/feeling/past which is normal for a classical Hollywood film
- Montage edit (flashback) – whirlwind romance, cliche way to show things (Russia 1920’s before sound????)
- Close up of the note in the rain – visual metaphor – washed away
- Rain – reflects mode/tone ?
- Driving – fake background, shot right at them
- Good and bad guys
- Primary and secondary narrative
- low key lighting from side of Rick before flashback – conflicted
Production context
- filmed on W.B. set – Burbanks studio
- ATGB – only song that was new for the film #
- reusing of documentary footage
Themes and Motifs
- motif – search light – surveillance
- motif – piano – it’s also in the flashback
- motif – ATGB – it plays in the background and then war time orchestral music plays and it plays again after the flashback – sparks the flashback
- romance
- war
- refugees
- ATGB to the national anthem (beginning of flashback) – they’re in France and France is free
Representation
- Sam is ordered around and calls Rick ‘boss’
- ‘where were you ten year ago’ reveal the age gap between Rick and Ilsa
- Ilsa wears a different outfit in every scene – glamorised
Political Context
- America were not in the war yet (propaganda, isolation was a bad idea) – ‘I bet they’re asleep all over America’ and ‘I bet they’re asleep in New York’ and ‘What time is it in New York?’
- war time – German’s are going to March in
- ‘I hate this war so much’ – Ilsa
- Paris taken over/occupied when the film is out. Most countries in Europe under command of fascist government
More
- repetition of the glass getting knocked over (Ilsa in the flashback and Rick after the flashback)
- Ilsa says ‘that’s too far ahead to plan’ in the flashback, like earlier when Rick said something similar in his cafe, suggesting he got the phrase from her
Ending:
Auteur Signature Film Form
- camera tracking in on Rick and Ilsa
- Camera tracking round to Rick and Laslow – Ilsa between the two men
- Genre – war spy drama, romantic, western (guns, Rick shots)
Classical Hollywood Film Form
- music rousing
- Close up on ‘Vichy water’
Production Context
- Not airport or aircraft – model/set – the fog hides the boundaries of the studio
Themes and Motifs
- non-diegetic ATGB theme
Representation
- Rick does the thinking for both himself and Ilsa, Ilsa is passive
- ‘someday you’ll understand that’ – patronising
- calls Ilsa ‘kid’
- two men making peace with each other, Ilsa off at the side tearful
Classical Hollywood
- cinematic time and space, 180 rule, narrative logic, editing, camera etc all focused on driving the narrative forward because it’s a form of escapism (e.g. Great Depression)
- Linear narrative except for a flashback that reveals the protagonists motivations
- Protagonists have interior and exterior motivations as well as a clear moral code
- Primary and secondary narrative
- Studio’s owned everything, and had people like directors and actors on a contract. The paramount decree stopped this, so the studio system started to fall apart and adapt into new Hollywood with new film school students like Spielberg
Casablanca Opening Notes – Re-written
Key
*important notes
Auteur Signature Film Form
- motivated camera movement e.g. when a subject walks past, the camera follows them*
- tracking camera – down into the city (even though it’s actually edited)
- tracking shot of some people watching the plane*
- Being shown the Bulgarian couple twice before being introduced to them due to motivated camera movement*
- Different genres – comedy (trumpet), war, documentary like, spy thriller*
Classical Hollywood Film Form
- characters have psychological motivations – they want to leave Casablanca*
- montage of refugees and people being arrested*
- document footage of refugees*
- shown some characters before we are introduced to them*
- 180 rule – when coming off of the plane*
- Montage of people being rounded up and the cutting rate reinforces the message (link to how Curtiz had fled Europe and he might be trying to show his opinion?)*
- Contrast of powerful/rich people and people in chaos being rounded up/vulnerable
- Emblem of free french resistance on papers*
Production Context
- Hal Wallis
- All shot on WB set/studios because of money*
- Budget film making – studio and model of a plane and the background is a painting (city and air crafts*
Themes and Motifs
- Theme of deceit
- motif – round up usual suspects*
- motif – plane – escape*
Representation
- no children*
- multiple languages being spoken*
Political Context
- world war 2*
- refugees*
- man was shot in front of Petain – visual criticism of vichy government. Mid-shot of Petain going down to a murdered French resistance sympathiser, French national anthem.*
- Close up of the sign – freedom equality brotherhood after the man is murdered
- Unoccupied France*
- Vichy government*
- Montage, V/O, documentary footage, animated map*
- V/O saying people in Europe are trapped and trying to leave
- Refugee crisis*
More
- ‘the scum of Europe’ has come to Casablanca, set up to be undermined later
- Structure – second shot of the Bulgarian refugees when they see the plane (maybe we’ll be on a plane), theme of escape*
Hollywood – Classical and New Hollywood Essay
Hollywood directors from the 1960’s onwards had to re-invent American cinema from the classical period of Hollywood. How do the films you have studied reflect the forces that shaped Hollywood style and form? [40 marks]
Hollywood directors from the 1960’s onwards had to re-invent American cinema from the classical period of Hollywood. One reason why this happened, was because of the Paramount decree, and studios having everyone on contract including directors was no longer allowed. Plus, specific context influenced the films depending on the time that they were made, for example, Casablanca, an example of a classical Hollywood film, is a propaganda film to spread ideas about world war 2 and America’s involvement in the war. For example, Rick says ‘I bet they’re asleep all over America’ which is a reference to American Isolation. Plus, the motif of the search light creates the theme of surveillance adding to the time that the film was set. To contrast, new Hollywood films tend to focus on other contexts of the time such as the quickly developing technology. Blade Runner, an example of a new Hollywood film, is a dystopian film set in the future, and advancement in technology is heavily featured in the movie. For example, the ability for replicants to exist. The film is suggesting a danger in rapid technological development and advancement such as with the replicants, because they take the place of children making the world seem unnatural, this links to the representation of children, as the replicants are children but look like adults. Other than this, cinema was influence by certain waves and movements. Casablanca was influenced by German Expressionism, as Curtiz the director spent time creating films in Europe. His use of strong shadows and controlled lighting are not only a part of what makes him an auteur as they are a recognisable feature, but this cinematography was used due to influence from German Expressionism. Such as, the strong shadows on the walls in Rick’s café of surrounding items, and how we see the shadow of Rick using the safe, rather than Rick himself, adding to the theme of secretiveness as well as being an example of influence from German Expressionism. This shadow technique was used by Curtiz in his other films as well, such as his robin hood movie. To contrast, new Hollywood films were very influenced by the French New Wave. This involved more violence, sex and drugs. Blade Runner includes lots of violence, which wouldn’t have happened during the classical Hollywood time period. For example, after Pris has been killed, the mise en scene includes blood and sight of her insides. The performance of Roy then continues this gory violence as he puts his fingers on her blood and wipes it on his face. This contrasts greatly to the scene in Casablanca, where the man is shot during the opening, and no blood or wound is seen. Another example of influence from the French New Wave in Blade Runner is the close sonic perspective sound of Roy breaking Deckard’s fingers. This violence is something that wouldn’t have been included during the Classical Hollywood period.
Another noticeable difference and change between Classical Hollywood films and New Hollywood films is the difference in protagonist. Classical Hollywood protagonist were clear cut, and morally clear, as well as their motivations being obvious. For example, the montage flashback in Casablanca highlights to the audience that Rick’s motivation is based on his love for Ilsa. Such as, the mise en scene of them sitting together in the car suggesting a whirlwind romance. It was usual for Classic Hollywood films to include a flashback that revealed the protagonist’s motivations, while the rest of the film remained linear. It’s also very clear where the protagonist Rick stands in terms of political context. For example, we know he believes that American isolation from the war was wrong, ‘What time is it in New York?’ and ‘I bet they’re asleep all over America’. This was also part of the film being a propaganda film, America initially didn’t get involved in the war because they lost too many people and too much money last time, but after Pearl Harbour they got involved and it was important for cinema to support these ideas. A reason why money towards cinema was still allowed, as well as the use of silver nitrate for the cameras, was because cinema could be used for propaganda purposes as well as to boast morale. To contrast, Deckard the protagonist in Blade Runner is less clear cut, for example he is morally ambiguous which wouldn’t have happened in Classical Hollywood films. For example, the diegetic dialogue of Roy directly addresses this issue of the protagonist’s moral ambiguity when he says, ‘aren’t you the good man?’ during the ending sequence. This makes the audience question Deckard’s morals, especially since we begin to feel more sympathy for the so-called villain Roy. This is because of the representation of children, as Roy is a child in an adult’s body who has to cope with his own mortality as well as deal with the death of a loved one because the protagonist killed her. The performance and mise en scene of him crying over Pris’s dead body emphasises this sympathy that the audience has for Roy, as well as being good gender representation as it goes against toxic masculinity. Hi speech at the end continues this sympathy and connection with Roy, as the high key lighting has connotations of goodness, suggesting that Roy is the good character who just wants himself and his friends to live, contrasting to the protagonist who is trying to kill him. This creates moral ambiguity in the protagonist, which is a feature of New Hollywood films rather than Classical Hollywood films.
Hollywood directors from the 1960’s onwards also reinvented cinema in terms of narrative. This is because the technical aspects of Classical Hollywood films such as cinematic time and space, 180 rule, narrative logic, editing and the camera were all centred around driving the narrative of the story forward. Such as, in Casablanca, the tracking shot inside Rick’s café that obeys the 180-degree rule that purposefully drops down on Sam is used to introduce his character and therefore progress the narrative further. The montage flashback is an example of editing being used to drive the narrative forward as well. To contrast, despite still using some of the same rules like the 180 degree rule, the technical aspects of New Hollywood films like Blade Runner were not only used to drive the narrative forward. One way it could be used, is for symbolism. Such as the motif and symbol of the unicorn, that suggests that Deckard is a replicant. This is because the mise en scene of the origami unicorn outside his apartment suggests that Gaff knew about Deckard’s dream, meaning it is an implanted memory. Another reason why the technical aspects like the cinematography were not just used to drive the narrative forward is because some things were included just because they looked nice. Blade Runner is a good example of this, as Scott was an art graduate rather than a film graduate and cared more about the appearance of the cinematography and mise en scene rather than the performance. The extreme close up of the eye at the beginning of the movie could been example of a shot only being included because it looks nice rather than to drive the narrative forward as it doesn’t give us any new information. Scott’s concentration on appearance rather than acting was a reason why the cast disliked him, as he would spend hours setting up a scene leaving not much time for the acting, and he’d also reshoot scenes just so that things like the shadows were right. At one point, Scott’s relationship with the crew was so bad that he was actually fired from the film. Scott also cared greatly about the sets and is knows for is baroque sets such as the building featured at the end of blade runner. He did this for appearance, rather than to drive the narrative forward.
Classical Hollywood and New Hollywood
Classical Hollywood
- cinematic time and space, 180 rule, narrative logic, editing, camera etc all focused on driving the narrative forward because it’s a form of escapism (e.g. Great Depression)
- Linear narrative except for a flashback that reveals the protagonists motivations
- Protagonists have interior and exterior motivations as well as a clear moral code
- Primary and secondary narrative
- Studio’s owned everything, and had people like directors and actors on a contract. The paramount decree stopped this, so the studio system started to fall apart and adapt into new Hollywood with new film school students like Spielberg
New Hollywood
- studio’s built themselves up with influence from the french new wave including non-linear narrative, and sex, drugs and violence. French New Wave changed eastern and western film.
- fears of the time were exploited by blockbusters
- still has 180 rule
- not just about driving the story forward, also aesthetic experience
- low budget to high budget
- moral ambiguity of the protagonist
- film school people like Spielberg
- Also can be used as a form of escapism, but a different type
- influence of TV
Casablanca Mise En Scene essay
How does mise en scene make meaning in Casablanca’? [10]
One way that the mise en scene makes meaning in Michael Curtiz’s ‘Casablanca’ during the flashback scene is with the motif of the piano. Sam piano’s is a motif that appears in both the current time for the characters and in the flashback. The piano and the theme/motif of the ‘As Time Goes By’ song that is played on the piano triggers Rick’s memories to think back on his past with Ilsa. Casablanca like most classical Hollywood films has a linear narrative with a flashback that shows the protagonist’s motivations and feelings, in this case, we learn of Rick’s love for Ilsa and how she broke his heart, shown by the symbolic close up of her note to him getting washed away in the rain. The fact that the piano, and therefore Sam, is constantly a noticeable element in Rick’s life (both flashback and the current time) links to the representation of ethnicity. Sam always being present shows his loyalty to Rick, but Rick shows him no loyalty back; his performance includes him ordering Sam around. This representation would have still been a positive representation at the time that the film was made, but now the film’s representation of Sam comes across as very wrong, although being a named character, he has no exterior or interior motivations other than to work for Rick and Rick doesn’t really show him much respect.
During the flashback sequence, elements of Curtiz’s signature auteur film form elements can be seen. An auteur is a director that has an overview over the film, their techniques and styles can be seen in their films as well having frequent collaborations. In Casablanca, Curtiz worked with Hal Wallis, the producer, and Humphrey Bogart, two people he frequently worked with. In terms of the cinematography and mise en scene, Curtiz’s signature auteur style can be seen, there are lots of strong shadows caused by the high key and functional lighting, plus there’s a shadow of the window on the floor. This is an example of Curtiz’s signature style, as it’s an element of his technique that is in multiple of his films after being influenced by German Expressionism.
Ilsa’s forehead and cheeks are always lit up due to paramount lighting making her appear beautiful and more feminine as paramount lighting is a common lighting for women. This links to how the representation of women in this sequence is glamorised, for example, Ilsa wears a different outfit in every scene. This contrasts to Rick who is lit with side lighting. Controlment and manipulation of lighting and the way that it looks on the screen (mise en scene) is another one of Curtiz’s signature auteur film form elements. After Rick has the flashback, Ilsa comes in wearing all white, with a light shining on her, and being in the centre of the frame. This makes her appear like a ghost of the past that has come to haunt Rick to the audience, as well as angelic. The idea of Ilsa being angelic links to her (and therefore women) being represented as passive throughout the film, such as at the end when Rick does the thinking for ‘the both’ of them.
The mise en scene links Rick and Ilsa together. For example, the narrative repetition of a glass being knocked over. Ilsa knocks one over in the flashback due to feeling angry and upset. Partly because of having to leave Rick but also because of the war, the German’s are going to march in which is negatively affecting her life. This will link to the audience’s lives as well, as they too will be at war when the film comes out. This sequence heavily focuses in on American isolation and getting the idea that it was wrong across to the audience. This is because in many ways this film is a propaganda film, showing how the studio had influence over Curtiz while making it. America initially isolated themselves because they lost too many people in the first war, but after pearl harbour which the film was set days before, they became involved in the war and so the film had to put across this message. Similarly to Ilsa knocking over a glass, Rick knocks over a glass after the flashback which visually links them together. This could represent their bond that they will always have, and/or their memories that they will always have together to the audience.
When Rick and Ilsa are in the car, it is shot directly at them with a fake background that has edited in images. This is because the film was film in the Warner Bros. Burbank’s studio, just like Blade Runner, meaning that they couldn’t actually film them in the places shown. They often had to hide the fact that they were on a set. Such as, during the ending, the mise en scene is foggy because they needed to hide the fact that they were not actually at an airport. Plus, the planes were not planes but instead models because they had to budget their expenses.
Casablanca Ending Notes
Auteur Signature Film Form
- camera tracking in on Rick and Ilsa
- Camera tracking round to Rick and Laslow – Ilsa between the two men
- Genre – war spy drama, romantic, western (guns, Rick shots)
Classical Hollywood Film Form
- music rousing
- Close up on ‘Vichy water’
Production Context
- Not airport or aircraft – model/set – the fog hides the boundaries of the studio
Themes and Motifs
- non-diegetic ATGB theme
Representation
- Rick does the thinking for both himself and Ilsa, Ilsa is passive
- ‘someday you’ll understand that’ – patronising
- calls Ilsa ‘kid’
- two men making peace with each other, Ilsa off at the side tearful
Casablanca – flashback notes
Auteur Signature film form
- motivated lighting – search light
- genre shifts – romance, war time drama, documentary footage
- motivated camera – zooms in on Rick and Ilsa when they’re on the sofa
- German expressionism – shadow of a window on the floor
- Ilsa appears at the centre of the door with light on her while wearing white, possibly like a ghost of the past coming back to haunt Rick but it’s also very angelic
- Camera tracks
- expressionist ? lighting
- Rick’s cafe – outside – search light
- rembrant lighting (top) – lighting forehead/cheeks – Ilsa
- Side lighting – Rick
Classical Hollywood Film Form
- mainly linear narrative, but a flashback that is used to explore/show the protagonists motivation/feeling/past which is normal for a classical Hollywood film
- Montage edit (flashback) – whirlwind romance, cliche way to show things (Russia 1920’s before sound????)
- Close up of the note in the rain – visual metaphor – washed away
- Rain – reflects mode/tone ?
- Driving – fake background, shot right at them
- Good and bad guys
- Primary and secondary narrative
- low key lighting from side of Rick before flashback – conflicted
Production context
- filmed on W.B. set – Burbanks studio
- ATGB – only song that was new for the film #
- reusing of documentary footage
Themes and Motifs
- motif – search light – surveillance
- motif – piano – it’s also in the flashback
- motif – ATGB – it plays in the background and then war time orchestral music plays and it plays again after the flashback – sparks the flashback
- romance
- war
- refugees
- ATGB to the national anthem (beginning of flashback) – they’re in France and France is free
Representation
- Sam is ordered around and calls Rick ‘boss’
- ‘where were you ten year ago’ reveal the age gap between Rick and Ilsa
- Ilsa wears a different outfit in every scene – glamorised
Political Context
- America were not in the war yet (propaganda, isolation was a bad idea) – ‘I bet they’re asleep all over America’ and ‘I bet they’re asleep in New York’ and ‘What time is it in New York?’
- war time – German’s are going to March in
- ‘I hate this war so much’ – Ilsa
- Paris taken over/occupied when the film is out. Most countries in Europe under command of fascist government
More
- repetition of the glass getting knocked over (Ilsa in the flashback and Rick after the flashback)
- Ilsa says ‘that’s too far ahead to plan’ in the flashback, like earlier when Rick said something similar in his cafe, suggesting he got the phrase from her
Casablanca Ilsa Notes
Auteur Signature Film Form
- Change in genres – romance, war film
- manipulated shadows – shadow leaves on the walls
Classical Hollywood Film Form
- long duration shot (close up) of Ilsa (25 seconds)
- Action reaction shots – talking to each other
- functional lighting
- Soft focus and high key lighting (maybe Auteur signature)
- Shift from diegetic song (Sam playing it) to non-diegetic orchestral version (ominous – Sam,Rick, Ilsa)
Production Context
- functional lighting
- ‘As Time Goes By’ was the only song made for the film
Themes and Motifs
- motif – piano
- motif – ‘As Time Goes By’
- motif (?) – blue – Ilsa wore blue
- When Rick meets Laslow the theme repeates
- Theme (ATGB) repeats but nicer – Rick and Ilsa
- Theme repeats but not nice – war
Representation
- Ilsa treats Sam badly, she orders to play the song and sing it
- Ilsa spoken about in a certain way – ‘spoke about you in a way that made me extremely jealous’
Political Context
- ‘I put that dress away, when the German’s march out I’ll wear it again’ – Ilsa. When the film comes out the world was at war.
Georgia Newman Film Studies 