Film Analysis: Sequence Analysis – Pride and Prejudice

Part I

Part II

1. Mise-en-scene

The vague orange lighting that is observed at the beginning of the sequence provides an intimate detail in the transition from sequence to sequence. In this particular sequence, the camera movements are restricted offering a cognitive recognition from the audience the translation from one set to the next set.

Orange is determined to be the brightest color in the sequence. Theoretically, orange is bold and in film rendition permits for an illusion of a by-stand scene. For instance, in the entire series, the transition into the stage is made clear to the audience as a dream. The main character in the subsequent seconds within the sequence is closing her eyes.

The lighting, therefore, conveys a setting of dream world which the audience can relate to immediately – due to the daze illusion. The transition from orange to the zoom camera action signifies entry into another concept within the scene. The significant action defines what the character is imagining with the presentation of a sense of ‘freedom’ within the landscape.

As such, the setting presents a significant embodiment of what the sequence entails. The dream persona that the audience is introduced to in an aerial view shot allows one to understand the dream disposed of by the character.

1. Cinematography

The camera within the sequence is placed directly in front of the character and abstract image presented to the audience. It is clear that the focus is what is directly in front of the lens. This is by allowing the audience to relate to the change in scenery from the orange color to the zoom on the character and then to an aerial shot. It begins with a clear shot of the imagery presented then a close-up to an aerial view (at 33 seconds).

The aerial view within the sequence is a representation of freedom and lack of confinement. The symbolism is clear that the introduction of the dream requires the audience to comprehend the purpose of the vision. The camera movement -aerial- serves as an illustration of the calmness that the character is undergoing from the predecessor scene. The focus is equal throughout the shot and thus, reinforces the mise-en-scene. The cinematography enhances mise-en-scene by presenting a focused aspect of the aerial view of the landscape where the character stands. Within the shot, the figure is seen raising her arms wide open with her head tilted. The perception is clear: in the dream, the character feels free and tranquil.

1. Editing

The editing within the sequence is flawless and has a varied approach to the change in shots. The first shot transition lasts for eleven seconds while the subsequent shot lasts ten seconds. The first two shots are similar in time frame due to the quick introduction of the main feature of the sequence- this is the beautiful landscape where the character stands. The landscape scene only has two shots: aerial and medium shots. The transitions are swift and soft from which the connection between shots is not disorienting to the audience.

The transition shots are not always the same. Some are long, lasting more than a second, there are medium shots which last for a second and then, the short shots which have no time lapse period. Long shots can include an image or sound effect that signifies the introduction of another shot. The short shots do not have an introductory time lapse as does long shots. The current film, Pride and Prejudice, there are short shots in use that indicates a quick introduction to the next shot.

The editing, therefore, has a particular rhythm. Continuity editing is used throughout the sequence. The is limited change within the surrounding since there is no change in character. The technique offers and embraces the conventional shot type and ensures that there is the limited disruption in introducing the shots within the sequence- providing the plot to the story.

Therefore, the editing subjects the rules of continuity editing. There is consistency within the shots of the sequence where the landscape remains the same within the last seconds: 33 seconds and 9 seconds. This only indicates that concepts of disjunctive and discontinuous are not followed within the sequence. Moreover, there is spatial cutting interjected within the shot – 33 seconds. Through the aerial view shot, the trucking camera movement provides limited cutting.

Each shot has no graphic relation since each offers its unique graphical representations. For instance, within the final scene that lasts 9 seconds, the graphical representation is the up-close camera shot of the character within the dream. Besides, rhythmic relations are not well thought out in the last shot. There is only one musical element that is played throughout the shot.

1. Sound

The sound that is present throughout the sequence is a monochromatic musical rhythm. The specific genre of music being played in the foreground is of contemporary classical music. The ensemble symbolizes a unique and figurative mood for the shot. What makes it monumental throughout the sequence is the solemnness within the melodies of the music. It provides a deep thought element within the audience which is primarily the main aim of the sequence.

The music, in addition, has the same rendition, sound effects, and volume. The shot focuses on an individual who is peaceful and calm (10-second shot). Her eyes are closed, and abstract dark images are seen passing through her skin. The image is a representation of an individual who seeks solace and contentment.

Particular melodies within the music in the sequence is aligned with the camera movement. For the aerial shot providing a view of the landscape (where the actress is seen standing on top of the cliff) possesses an increased rendition of some of the rhythms and beats. As the camera trucks within the shot, the music intensifies but, does not grow in volume.

The on-screen sound is used throughout the sequence without differentiation in volume and no sound effects. Inherently, the sound is non-diegetic. The mood of the music and the sound effect brings out the non-diegetic aspects of the movie.

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