The use of high contrast lighting against black and white stock heightens the sense of gruesome disparity between what the audience perceives as rational behavior and what Norton’s character sees as lucid. In other words, it does two things simultaneously. Paradoxically it allows the audience to both suspend their disbelief and draws them even further into the reality of Norton’s nightmarish world, while never letting them forget that the events taking place on screen are completely alien to most. The contrast between light and dark areas of the screen, which are enhanced by the stock make for an overt distinction of what one, sees as “real” and what the true nature of reality is. Norton’s body is made to look unrealistically white while the black boys are just as unrealistically black. When he is seen being arrested, his white body in front of the black night doesn’t just draw the eye to him, rather it affixes itself to him as if glued in place. The expression on his face is one of satisfaction and pride, a key thing to remember as the rest of the story unfolds and his great change is revealed. If this were not shot in this manner, the result would not have anywhere near the stimulation that it does.
Metaphorically, the black and white stock speaks to the viewer subliminally simply because it is “black and white;” the outward conflict of both the character and of the film. The symbolism here is two-fold. At first, it visually illustrates the polar opposites that black and white represent. The completely different worlds that the perpetrator and victim come from can be inferred just by the harsh contrast of light and dark areas captured on film. To these people their plight is like that of war. It is an almost blind rage and hatred which’s only sight is that which perpetuates the war, that of black and white. Although there is very little rational for their behavior, they each maintain their ideals and actions of violence. Such narrow minded thinking is propagated by not allowing themselves a glimpse of the other’s world. This brings about the second element of the symbolic nature of this scene, which is its converse outcome as the film progresses. The film later demonstrates the utter absurdness of this behavior and thought process. However, without this scene the rest of the film and its message would be lost, since it is this scene that sets up the wall of bigotry that must be broken.
The narrative is moved along with a great sensation of immediacy by using slow motion photography. By shooting the sequence at a faster rate than 24 frames per second, the illusion of events happening at a slower than normal pace is created. This adds many things to the scene and the story in its entirety. Going back to the moment when the police are holding Norton at gunpoint as he looks at his younger brother Edward Furlong, the audience is affixed to him. In addition to the choice of lighting and film stock, the slow motion element is intriguing. Since it is shot from Furlong’s perspective, slow motion conveys the sense of urgency that Furlong’s character is feeling at the sight of his brother, the one he looks up to most, being taken away from him. When Norton stretches his muscular arms out with all his loathsome tattoos on display time seems to stand still for a moment. This gives the audience pause and allows them time to absorb the psyche of the character as well as the dire situation he finds himself in. It also allows them to feel the hatred that is brewing in Furlong’s character as he watches this happen. Both the audience and Furlong are able to see Norton for who he is at this point in the film. He is proud of who he is and what he has done. Furlong has his idol taken from him because, in his mind, of the hated black boys. He believes that none of this would have happened if it were not for those boys. When Norton has his arms stretched out it is one last look at the tough, hate-mongering man, from then on he begins to change. The change is gradual, as all true transformations are. This is visually illustrated by the use of slow motion. The very next action that takes place is Norton bringing his arms down and being forced to the ground. Here, time is elongated as a metaphor for this change. First, he is broken down, and then he begins to be built back up. The breaking down begins at this very moment, and it as well as the change is slow. This is important to note because he is not an easy man to break down. When someone goes through such a complete reformation it is a long and tedious process. By extending time it makes the beginnings of his fall that much more enthralling.
Another portion of this scene that makes excellent use of slow motion photography is when Norton is actually doing the act of murder. When he drags the boy into the street and tells him to put his mouth of the curb it is shot at normal pace. There is then a cut, which is in slow motion to Norton getting ready to slam the black boy’s head. This chilling scene would not be the same if it were shot any differently. The dramatic tension is at its peak at this point by using that technique. The next event, that of him actually striking him is unseen thankfully, but the implied result cannot be mistaken. The inevitability of the murder is prolonged for a few vital seconds, which causes the audience to revel in its disgust.
Two main things that I want to portray in my work are character development and using the medium of film to teach and enlighten while simultaneously entertains. This scene in the context of this film exemplifies both extremely well. For a movie to work it has to be first and foremost engaging and entertaining, which this movie certainly is. For me, as well as a lot of others, in order to do this one has to care about the characters and what happens to them. Again, this is done beautifully in this film. It has great character development as well as a profound change in the protagonists’ ideals, beliefs and actions. However, in order to be believable and give the audience reason to go along on the journey, there has to be a departure point for the character to grow and change from. I can only hope to do as well a job as is done in this film.
American History X is an obvious attempt to demonstrate the realities of racism as well as offer possible solutions. This is important to me because although it is important to illustrate social problems, many times films do not offer any solutions. This film goes that extra mile and shows us what it is like, what it might be like, and how it is up to each individual to do his or her part to stop it. Myself personally, and I suspect the same goes for many others, is lessons learned tend to stick in the mind if the circumstances they are portrayed in are interesting. I would love for my work to do it as well as this film has.
The use of cinematography in this film bring together both of the elements that I would love to have present in my films. It adds tremendously to the character development as well as teaches and entertains. It would be impossible for the audience to care as much about the characters as they do if the film and this scene in particular if it was not shot they way it were. The effect of the tragedy of the murder would not provoke nearly enough emotional response from the audience if it were shot differently. And if it were not for this response, the rest of the movie would not matter and no lessons would be learned.
The film American History X uses cinematography on many levels. Its use of black and white film stock in the chosen scene as well as high contrast lighting and slow motion add to the narrative. These elements also engage the audience, which allows them to be swept along, and ultimately enlightened, and hopefully leave them better off for the experience.
