Cinematography in Fight Club
Both the cinematography and editing often have an important role in portraying to the viewer the underlying themes and ideas being communicated by a particular film's plot. David Fincher's film Fight Club is an excellent example of how various editorial and cinematic effects can greatly reinforce the themes of a film as well as create the an appropriate atmosphere in order to further enthrall the viewer into it's plot. In Fight Club the protagonist unknowingly has a severe split personality disorder and is portrayed by two characters, the narrator played by Edward Norton and Tyler Durden played by Brad Pitt. While the fact that these two are actually the same person is not made known to the viewer until the end of the film, the majority of the film is spent creating a dichotomy between the behaviors and ideals of these two characters in order to shock the unsuspecting viewer upon discovering the truth about the protagonist. In a larger sense the differences between the protagonist's conflicting personalities reflect differences inherent in the entire social structure of modern America. In making Fight Club David Fincher, as well as the film's entire production team use a great deal of editing effects and cinematography in order t
Furthermore, when the narrator is on an airplane he imagines a midair collision in which the plane bursts open and plummets to the ground. This effect illustrates to the viewer how the narrator is hopelessly engrained with both consumerism and materialism. Lastly, one of the most crucial instances of this is the sex scene. Conversely, the dwellings associated with Tyler such as, the Paper Street house and the various bars in which fight club takes place seem to be much more grainy and dimly lit. The above discussed added editing effects and cinematography allowed Fincher to very accurately put to film the atmosphere and ideas that were apparent in Palahniuk's novel. The color schemes of such places, as well as the outfits worn by the narrator's coworkers and neighbors usually consist of neutral, non-flashy colors such as whites and gray and seem generic and typical. The Paper Street house where Tyler lives is a fine example of this contrast, while like the office and condo it's color scheme is consistent, instead of being consistently clean and orderly everything appears to be the same shade of dingy yellowish brown. While being burned the narrator desperately pictures a serene forest and a frozen cave, trying to avoid thinking of words like searing and burning which are flashed across the screen in the form of a close of their dictionary definition. Another important camera angle used in the film was the point of view shot when Tyler purposefully got into the car accident, this shot allowed the viewer to experience the intensity of the given situation and perhaps sympathize with the narrator who was hysterical at the time. The fact that Fincher chose to actually show the viewer this fantasy rather than just have it recounted by the narrator helps to further illustrate just how disillusioned the narrator is becoming with his life before meeting Tyler. Another important vehicle for showing the differences between Tyler and the narrator was the use of digital cinematography and special effects. Also these places appear clear and crisp as though they were shot as fine grain images. Also, later in the film there is a close up of Raymond K Hassell, a connivance store clerk whose head Tyler is holding a gun to. This conflict truly shows the difference between Tyler and the narrator, while Tyler is trying to force the narrator to embrace the pain and thereby accept the world's imperfections, the narrator reacts by trying to mentally escape from it thus characterizing him as afraid and non-confrontational.
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