Textual analysis of One Flew Over The Cuckoo's Nest.

instance where two men doing one action are shot with oneman doing something else.?The scene usually closes on a portion of space?. Again this structure canbe applied to this scene, as in the final shot of the scene, McMurphy iswalking out of the room. He stops in the doorway and not only is he thecentral focus of the final shot, he is framed in the doorway. This shotisolates a fragment of the scene, with McMurphy in this scene and throughoutbeing the subject of much isolation.According to Pudovkin (as cited in Bordwell (1985), the camera lens shouldrepresent the eyes of an implicit observer taking in the action?the changeof shot will then correspond to the ?natural transference of attention ofan imaginary observer?. In this scene, the director rigidly follows thisguideline, with frequent cutting from the main source of action to the observerof the action and back again.Through the positioning of the camera in this scene, the viewer can increasetheir understanding of the relationship between audience, the camera andcharacters (Gibbs 2002). As we are effectively assuming the role of a character(or ?in their shoes?), we also assume their view of the scene. McMurphytries in vain to pull a washbasin out of the floor with the intention ofputting it through the hospital window, so he can escape the hospital. Aftertwo mammoth but unsuccessful attempts, McMurphy walks towards the door indefeat. The camera now switches to a more detached, unimposing mid-focusshot. We have resumed the role of viewer again, having enjoyed our moment?in? the scene. The director realises the danger of the viewer becomingtoo detached, and McMurphy stops at the door as if to re-focus our attention.?But I tried didn?t I God Damnit, at least I did that? with that singlesentence the viewer?s understanding of McMurphy?s character?s mentalityis re-enforced.The theme of conflict in this scene is primarily developed through the useof order-disorder-restored order model. Perhaps this is best illustratedin conjunction with the use of lighting in this scene. The area McMurphyis sitting in contrasts with the area that the rest of the patients occupy.They are sitting in awell-lit area where they, so low on confidence and self-esteem, can feelsecure. McMurphy, a rebel who thrives on conflict, is sitting in a muchdarker light.The conflict here occurs as much out of McMurphy?s boredom as it does hiswanting to challenge authority. Out of the darkness, McMurphy sprays theother patients with a hose, upsetting the status quo. At this stage he hasmoved into a less dark area and later in the scene when he fails to pullthe sink out of the floor, he stands in the exact same light as the otherpatients. The irony here is that the conflict McMurphy is instigating inan attempt to challenge authority is, making him become more like the patientsthan the wild, bubbly and sometimes dangerous person that he once was.?Realistic motivation corroborates the compositional motivation achievedthrough cause and effect? (Bordwell 1985). The reality portrayed in OneFlew Over The Cuckoo?s Nest achieves a ?tacit coherence among events, [and]a consistency and clarity of individual identity? (Bordwell 1985). The viewernever has to wonder as to why a character is undertaking a particular courseof action. This is a testament to the director?s grasp on the importanceand significance of the use of high levels of verisimilitude.Gibbs (2002) describes two different ways of addressing coherence in film.He writes about ?coherence across the work?. This can be achieved by theuse of visual motifs. In One Flew Over The Cuckoo?s Nest, one of the mosteffective visual motifs is the cigarettes, a notepad and a pencil that McMurphyhas in his shirt. In a later sequence, his resolve and stomach for the fighthaving been weakened, he appears without these motifs ?In each case thesubsequent appearance of the motif brings with it the weight of earlierassociations?(Gibbs 2002). So the inclusion of and later the absence ofthis motif is a catalyst for cognitive questions and association patternswhich will challenge the viewers interpretation and understanding of thefilm and it?s characters.According to Bordwell (1985), ?early author theory was defined by recurrentthemes or generic innovations?. The director Milos Forman has consistentlyaddressed subject matter and topics that are deeply American and usuallyconcerning characters that are interesting individuals set apart by theiridiosyncrasies. As in One Flew Over The Cuckoo?s Nest many of his charactersare outsiders and non-conformists (thecontext.com).Lately these characters include the comedian Andy Kauffman (1997), the notoriousfounder of Hustler magazine Larry Flynt (1996) and in his 1981 film Ragtime,he tells the story of a jazz player victimised for the colour of his skin(imbd.com 2004).AppendixOne Flew Over The Cuckoos NestBelow is an outline of the scene that I am analysing.The scene begins with McMurphy sitting alone with his feet resting on thesink. The exposition shows us who else are in the room. They consist oftwo men, who are playing Monopoly, two more are doing a jigsaw, one manis standing in the doorway, and two other men are just standing around theroom.Martini and Harding are playing the board game Monopoly but this quicklydescends into farce when Martini starts putting pieces on the board thataren?t supposed to be there. Harding tries to explain this to Martini ?forthe third time? but a third man, Taber, who is appearing in the scene forthe first time, interrupts their conversation.?Why don?t you knock off the bullshit Harding, and play the game?? asksTaber, somewhat provocatively. An argument ensues between Taber and Harding.They are interrupted by McMurphy who sprays the hose from the washbasin,straight at the men who are arguing and everyone else in the room. McMurphythen taunts Harding regarding an incident in an earlier scene.McMurphy then says that he is going downtown, by pulling the sink out ofthe floor, putting it through the window and walking down the hall to freedom.He says that anyone is free to join him but only Cheswick, who had beensitting watching the two men playing monopoly, says he?d like to go too.Besides Cheswick, the reaction of the patients is nothing more than a scoffin unison, McMurphy says that he?ll take bets that he can do it.Taber bets one dollar and Martini bets a dime. Billy, who had been standingquietly in the corner, warns McMurphy that nobody could lift the sink. UndeterredMcMurphy taunts Harding, who bets $25.Billy warns McMurphy for the second time but McMurphy is determined ?Getout of my way son, you?re using my oxygen, you know what I mean??McMurphy tries once and fails. ?Giving up?? asks Harding. ?No?warming up,just warming up, warming up? replies McMurphy. At the second attempt, McMurphy?sface looks as if it is about to explode, such is his effort. His effortsare in vain however and he walks towards the door.With his back to the camera, McMurphy stops just before walking out of thedoor ?But at I tried, didn?t I God Dammit, at least I did that?.Ends.Bibliography:Bordwell, D. 1985. Narration in the fiction film. Great Britain. Methuen&Co.Ltd.Gibbs, J. 2002. Mise-en-scene Film style and interpretation. Great Britain.Wallflower Press.Hamilton, E. & Cairns, H. (eds) 1963. The Republic The Collected Dialoguesof Plato IN D, Bordwell. 1985. Narration in the fiction film. Great Britain.Methuen &Co. Ltd. Pp 16.Pudovkin, V.I. translated and edited by Montagu, I. 1970 Film Techniqueand Film Acting IN D, Bordwell. 1985. Narration in the fiction film. GreatBritain. Methuen &Co. Ltd. Pp 9.Author Unknown. <http://www.thecontext.com/docs/1959.html> [Accessed 1 May2004]Author Unknown. < http://us.imdb.com/name/nm0001232/> [Accessed 3 May 2004]