The Cinematography of "Memoirs of a Geisha"
The film "Memoirs of a Geisha" unquestionably fits Joseph M. Boggs and Dennis W. Petrie's definition of a "cinematic film," a film that uses visual effects to convey a distinct impression of time, place, and story. (Boggs & Petrie 123) The film is set during early 20th century Japan and blends elements of traditional Japanese design in its visual frames with contrasting elements of modern history and Western culture over the progression of the film's narrative. In showing what seems, to Western eyes, the strange life and world of Japanese geishas, the director Rob Marshall makes particularly effective use of cinematography in conveying different character's clashing points of view and the fortunes of the different characters of the film. For example, the film often contrasts the protagonist's "subjective" point of view, such as Sayuri's first, intimidating glance at the geisha Hatsumomo with the "objective" point of view of the director, as when the director later shows the otherwise cruel Hatsumomo in moments of sadness, when she is not being observed
(Boggs & Petrie 125-126) The film also makes use of what is known as the "indirect-subjective" point of view by contrasting the objective views of the geishas as ordinary women, engaging in fights behind the scenes or simply putting on their robes, with the subjective view of how outsiders see the women, such as when the alien-seeming, ethereally beautiful geishas are performing their ancient native arts. (157)Given that geishas are paid performers, using "depth" and "angles" to give visual interest to staged musical and dancing numbers that would otherwise seem like flat, filmed stage plays, add vital interest and drama through physical depiction. During the intimate scenes of the film, "soft focus" is often used to convey the initiation process of Sayuri into the sexual aspects of the geisha world, a typical device in many films that suggests the private nature of the encounter. "Memoirs of a Geisha" is a film that focuses on character, than plot and this is reflected in its cinematography. (Boggs & Petrie 151) This is especially effective, however, given that this softer lighting and focus comes after the harsh tones and lighting deployed during very public act of auctioning off Sayuri's virginity to the highest bidder. Different character's "motion," like the child Sayuri running through orange swaths of fabric, or the adult geisha's later dancing in concealing masks and robes, expresses ideas about the character. These early parts of the film are characterized by a muted, dirtier palate that make the shift to the world of the geisha seem like a shift from Kansas to Oz. (Boggs & Petrie 153; 156) "Freeze frames" suggest the frozen, timeless world of the geisha, in contrast to the inevitable forward movement of history that impacts and changes Sayuri's life, but never deprives her of her geisha status. (Boggs & Petrie 136) "Slow motion" such as during the film's intimate scenes, and "fast motion," like when Sayuri travels on a rickshaw is occasionally deployed, but always to express something about Sayuri's life, or feelings, rather than for the sheer sake of excitement. (Boggs & Petrie 128)The film's use of the cinematographer's ability to deploy "color," is demonstrated through the palate of colors in the geisha's dress. (Boggs & Petrie 132) It also helps the viewer understand why Sayuri considers herself fortunate to have become part of the world of the geishas. (Boggs & Petrie 142; 149) Again, this shows the importance of the use of the language of cinematography to make an otherwise foreign world, series of actions, and set of values comprehensible and interesting to a wider audience through striking visuals and forcing the audience to see the world through the eyes of Sayuri's contemporary audience. These examples show how Sayuri is often forced to conceal her real identity and feelings behind clothing and masks, rather convey the motion of the plot's narrative.
Common topics in this essay:
Boggs Petrie,
Memoirs Geisha,
Rob Marshall,
Dennis Petrie's,
boggs petrie,
world geisha,
memoirs geisha,
sayuri's life,
geisha film,
subjective view,
,
intimate scenes,
|
Acceptance Essays
