1. Amy Sadler
How does cinematography and mise-en-scene construct meaning and provoke
response in a sequence from Darren Aronofsky’s, 2010 film; Black Swan?
The choices made concerning cinematography and mise-en-scene are both a vital
element within the generation of meaning for the film’s audience. Within the
narrative, a sense of mood, character state of mind and time period can all be
established through the use of cinematography and mise-en-scene. This essay will
analyse how meaning is generated and a response is formed in a sequence from
Darren Aronofsky’s fifth major feature film; Black Swan. Aronofsky encompasses and
throws a contemporary twist on Tchaikovsky’s classic ballet ‘Swan Lake’.
The plot follows the challenging career of Nina Sayers, a ballerina who’s landed the
lead role of the production, played by Natalie Portman, co-starred by Vincent Cassel, the
dance company’s artistic director; Thomas Leroy, who reflects the role of Von
Rothbart, the antagonist from the original ballet performance, ‘Swan Lake’. I am going to
analyse the scene that centres on Nina’s uncontrollable transformation from good to evil, the
evening prior to opening night. The focus sequence depicts Nina’s gradual
transformation into her evil metamorphosis and her incapability to conceal it any
longer
Throughout the film, Nina’s darker side is revealed gradually through the use of mise-en-
scene and cinematography. For example, Nina’s costume changes dramatically as the film
progresses. At the beginning of the film, Nina is extremely innocent and virtuous; therefore
she is dressed in various shades of white and baby pink to clearly portray her childlike
personality to the audience. This is then contrasted greatly as her costume changes into
grey colours and then finally to the colour black to reflect her final transformation into the
guile Black Swan.
In correspondence, at the beginning of the film , the camera shots vary from neutral
shots; which make the audience feel comfortable due to the natural feeling it creates, and
high angled shots to enhance Nina’s vulnerability. On the contrary, by the end of the film,
many canted angled shots are used as well as high angled shots to make Nina appear
vulnerable again, but this time in a sinister way as the natural lighting from the beginning of
the film has now been replaced by low key lighting to achieve a sinister and creepy feel to
the scenes accompanied by Aronofsky’s usual style of filming by featuring ‘horrific images,
black and white motifs, close-ups, follow shots and rapid cutting’.
Darren Aronofsky always made the audience fee l comfortable and as if they had nothing
to worry about before a scene that would involve “levels of paranoia and anguish that most
films would steer clear of”, this creates a sense of naivety as the audience wouldn’t be
expecting a scary scene to come along and therefore it is more of a shock when one does.
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2. For example, at the beginning of the focus scene, Nina is practicing her ballet,
feeling at ease in the studio, as this is where she was bought up. Additionally, as her
Mother is a retired ballerina, a location such as a dance studio feels ‘homey’ to Nina. As a
result, Nina’s ease is reflected onto the audience. This effect is due to how she is often
victimised in the film, therefore the audience empathises with her. In terms of the micro
elements; the wide shot is filmed from both Nina and the pianist’s eye-levels’, therefore the
audience are able to see everything on set; consequently, creating a feeling that nothing is
out of the ordinary. Moreover, the scene itself is lit very naturally, and as the audience are
able to visibly see the lights on the set they again feel like there is nothing out of the
ordinary. However, Nina is positioned in the frame, without any of the on-set lights shining on
her, meaning there is no light in her personality at this stage, and that her darker side is
coming out.
Mirrors are a prop frequently used throughout the film to symbolically reflect the true
state of Nina’s psyche, therefore the audience are familiar with mirrors, and thus
familiarity invites tranquillity for the audience This relaxed state then makes the
audience feel more anxious and shocked whilst viewing the upcoming scenes. Here,
Aronofsky uses his typical style of filming - the element of surprise - to create an
over-powering shock factor for his film’s audience.
As the room is very blue based, along with Nina’s clothing, it connotes calmness. Although,
in comparison to the beginning of the film; Nina’s costume has changed dramatically, as she
was previously dressed in whites and pinks that reflected her virtuous, child-like and
innocent persona. Due to this costume change, the audience can verify that Nina’s darker
side is beginning to come out.

3. Amy Sadler
As Nina’s metamorphic being has immersed in the form of her reflection, this is key as
mirrors are an enigma code throughout the entire film since they reveal the darkness within
her. In addition to this, as the face of her reflection is revealed, the on-set lighting that was
previously visible, which made the audience feel comfortable, has vanished, therefore, so
has the comfort that the audience felt. Secondly, the camera positioning is at her reflection’s
eye-line, showing she is in control. Also, her eyes are completely darkened; highlighting how
evil she is, and making the audience feel tense, as it is mysterious. Nina’s reflection is
positioned over her shoulder, mimicking the idea of a devil upon her shoulder, emphasising
just how dangerous this inner dark side is.
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4. Nina’s darker side has made an appearance; and in the long shot on the previous page,
Nina is surrounded by darkness making her appear small and helpless. Also, her legs are
blending in with the darkness, insinuating that the darkness is taking over. Although, this
could possibly have a dual meaning in the form of a reference to her turning into a swan - as
swans have black legs - this could imply that she is becoming dangerously obsessed with
her role. Furthermore, the metal work prop positioned on Nina’s right, gives off the effect of a
cage, implying that Nina has been trapped, but as she is not positioned behind the bars, she
has escaped, but, as she is currently revealing her darker side at the moment, it is her dark
side that has escaped. At this stage in the film, the audience feel lost; as does Nina. The lost
feeling of the audience is reflected within the complex narrative.
The idea of a manic being escaping is a typical example of classic horror, and this,
accompanied by the above frame, is another example of classic horror. As the dark
shadowed figure is positioned in front of the only visible light, this may evoke two ideas: that
Nina’s freedom is blocked by darkness or that the goodness of her personality (the white
swan) is being swallowed by the evil of her personality (the black swan). As Nina’s face can’t
be seen, this can make the audience feel uncomfortable and frightened, as there is nothing
visible that they are familiar with.

5. Amy Sadler
Along with classic horror, Darren Aronofsky also uses elements of classic film noir;
shown in the still image above. The one source of light and mass of surrounding darkness
makes Nina appear small within the wide shot, and white within the darkness, presenting her
as an innocent girl, lost in darkness. Similarly, the shot appears grainy which takes the
reality out of the picture; which I think represents just how lost Nina is. Also, from the light
source centre stage, it almost appears to create a barrier like, line down the middle of the
stage.
Upon the side Nina is currently situated, there are many less props, indicating a simpler
state of mind in which Nina is about to leave, but, in contrast, on the other side of the stage,
there are more props, with gives the idea of a busier, frantic, crazy and more obstacle-filled
place. This could represent the dual personality of Nina. As this is set upon a stage, and
Nina is journeying across it, this implies that it was the ballet performance that took her to
this darker, crazier place. Here, the audience begin to sympathise with Nina’s character as
she appears so small, lost and child-like due to the lighting and the extremely long shot.
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6. Another classic horror reference is portrayed in the close-up in the frame above, where
Nina has been lit from behind, creating a shadowed side of her face, which shows her dual
personality, similar to that of Norman Bates in the parlour scene from Alfred Hitchcock’s;
‘Psycho’, whom also had reference to obtaining a dual personality. Furthermore, the light
being shone behind her, suggests that she has left behind the goodness, crossed the barrier
that was analysed in the previous frame, and entered the darkness. And, the line of
darkness across her face shows the contrast between her good and evil side. Due to the
lack of lighting, the audience can recognise that there is a change within Nina’s character
when compared to the first ballet studio frame.
Norman Bates (Anthony Perkins); 1960; Psycho

7. Amy Sadler
As Nina walks further into the darker, crazier side of the stage her face is gradually
completely blacked out (portrayed in the frame above). This shows she has completed her
journey into her evil, darker side. Additionally, as the light is clearly positioned behind her,
this insinuates that she has completely left behind her good side. This creates a sense of
sorrow and fear that the audience feel for Nina as they feel saddened that the pressure has
caused her to lose herself to a darker state of mind; they can recognise this as there is
barely any light within the frame compared to the beginning of the sequence, where
Aronofsky made the audience feel comfortable and at ease.
In conclusion, the cinematography and mise-en-scene used in this sequence have
contributed to the viewer’s increased understanding of the gradual transformation of
Nina’s personality. Additionally they have constructed numerous amounts of viewer
feelings and audience responses.
The micro elements have shown her metamorphosis from a shy nobody to a
possessed superstar along with the ways in which cinematography and mise-en-
scene enable the audience to recognise when Nina is in her sane state or her
descent into madness. The audience is able to experience Darren Aronofsky’s
interpretation of the dark side of entertainment. Mind control, manipulation and
immorality collide with success and recognition. Dark impulses, addictions and self-
destruction arise with artistic genius and creative brilliance through the use of micro
elements.
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8. Amy Sadler
As Nina walks further into the darker, crazier side of the stage her face is gradually
completely blacked out (portrayed in the frame above). This shows she has completed her
journey into her evil, darker side. Additionally, as the light is clearly positioned behind her,
this insinuates that she has completely left behind her good side. This creates a sense of
sorrow and fear that the audience feel for Nina as they feel saddened that the pressure has
caused her to lose herself to a darker state of mind; they can recognise this as there is
barely any light within the frame compared to the beginning of the sequence, where
Aronofsky made the audience feel comfortable and at ease.
In conclusion, the cinematography and mise-en-scene used in this sequence have
contributed to the viewer’s increased understanding of the gradual transformation of
Nina’s personality. Additionally they have constructed numerous amounts of viewer
feelings and audience responses.
The micro elements have shown her metamorphosis from a shy nobody to a
possessed superstar along with the ways in which cinematography and mise-en-
scene enable the audience to recognise when Nina is in her sane state or her
descent into madness. The audience is able to experience Darren Aronofsky’s
interpretation of the dark side of entertainment. Mind control, manipulation and
immorality collide with success and recognition. Dark impulses, addictions and self-
destruction arise with artistic genius and creative brilliance through the use of micro
elements.
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