• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month
  1. 1
  2. 2
  3. 3
  4. 4

How do the cinematic codes, specifically mise-en-scene and sound, in the opening sequence of Moulin Rouge inform the audience's understanding of the extract?

Extracts from this document...


Michelle Holcroft 12LN How do the cinematic codes, specifically mise-en-scene and sound, in the opening sequence of Moulin Rouge inform the audience's understanding of the extract? All four cinematic codes work together in a film to inform the audience's understanding of a film and to convey meaning and the ideology in a preferred reading favoured by the film-maker so that the audience interprets the film in the way intended. In the film Moulin Rouge (Luhrman, 2000, US) the cinematic codes, mise-en-scene, sound, cinematography and editing all work well together in the opening sequence to set up the film-maker's preferred reading. The film opens with a conductor on a stage in a grand theatre, signifying a 'show' which links well with the idea behind Moulin Rouge, informing the audience that it is like a show. The curtains behind the conductor are red, a motif in this film, which is used repeatedly throughout the film, and this colour connotes love, death, l**t, danger, s*x and passion and these are all vital elements running throughout the narrative. The character is quite a small figure in front of a vast background informing the audience that he is not a key character in the film as he is isolated by the mise-en-scene, his costume is a conductor's costume and is similar to that of Harold Zidler's, a character introduced later in the sequence. The first few seconds include an intertextual reference when the sound we first hear is the song The Sound of Music playing loudly and boldly. ...read more.


They are presented as quite unnerving as they just stare into the camera and the close up shots bring the audience closer to this corrupt, sinister world that has been created merely by the cinematic codes, and all of this is building on the audience's understanding of the film, even after simply the first few minutes. The next thing shown to the audience is a bright light at the end of the alleyway signifying to the audience that possibly, by following this path they will turn away from the inevitable tragedy looming, and there is a glimmer of hope for the characters that the audience rapidly see, when suddenly the camera quickly tears away from this light and straight towards the inescapable tragedy. The camera movements are much jerkier and then, as the camera is tracking through the back streets, it speeds up, informing the audience that something is about to happen, and they are about to be taken somewhere important, to something vital to the plot. At the same time the sound works together with this as it builds up more and more creating tension as the audience wonder where they are being taken. The camera then leads the audience through a window, and as the camera tracks towards Christian, the main character, we see the curtains blow, once again creating the feeling of the audience being like the wind. After the journey through Montmarte and the music and lighting, Christian, the main character, looks like the audience may well have expected. ...read more.


She is perfectly made up, creating a sophisticated appearance, and the way in which she holds her head connotes that she is calm and composed. She is holding a cigarette and is portrayed to the audience as extremely mysterious; the positioning of the top hat on her head, slightly tilted forwards, emphasizes this. All the other girls were introduced in great colour and in such a different way that this introduction helps inform the audience that she is different, she is set apart from the other, she is the one that Christian falls helplessly in love with. She is surrounded by darkness and shadows, and this presents the idea to the audience that along with her comes tragedy and an inescapable doom. In just these first five minutes the audience are informed greatly about the narrative of the film. The use of the cinematic codes, especially mise-en-scene and sound informs the audiences understanding of the sequence, and they all compliment each other in such a way that the audience take a preferred reading. The techniques the director uses give the audience one reading, so that the audience read the film exactly as the director wishes, the sequence first sets up enigmas, and disorientates the audience slightly. Then gradually throughout the extract the narrative begins to unfold before their eyes with the use of the cinematic codes contributing to this and delivering the message clearly to the audience as the characters are being introduced and the setting established. The audience are drawn into the lives and tragedies of the characters and escape into the film, feeling what the characters feel, and gaining pleasure from the film. 2,571 words ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Plays section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Plays essays

  1. In this essay I will be analysing in depth four scenes from Baz Luhrmann's ...

    The moving aerial, zoom shot over Paris takes you through the streets, the vicar says, "Turn away from this village of sin", and through Christians window. The red sign outside the window is the only thing in the opening sequence that isn't in sepia.

  2. Is Hedda Gabler a Tragedy?

    The answer is not so simple. Hedda moves from her higher social class into this lower one, where the people she meets she finds annoying because of their selfless good will and well-meaning.

  1. How do the micro elements cinematography and mise-en-scene contribute to the creation of a ...

    First of all I will look at the cinematography used in the sequence and the camera movements. The main protagonist leads the way, this is shown by a tracking shot; however his bike does not have a light, this shows that he is different from everyone else.

  2. Analyse the cinematic techniques that are used to capture the audience's interest in the ...

    For example, in frame one, low-key lighting is used a lot to make it appear as if shadows are coming from between the gaps in the train carriage. Low-key lighting is used because it makes the scene look more dramatic and darker.

  1. Free essay

    How does the opening sequence of 'The Mummy Returns' create meaning and atmosphere for ...

    It increases the feeling of desperation of the men. At the end of the desert scene a very high angle is used on the scorpion king so he looks small, making the audience almost pity him. Inside the temple, a lot of mid shots and close ups are used. This helps to increase the feel of the small tunnels.

  2. Deconstruct an opening sequence (10-15 mins max) from a Television Genre of your choice. ...

    We now know that this is the CTU office which was the central theme of the previous series. We also now know that Jack Bauer, the hero and main star of the show is no longer in his position at CTU, he almost seems powerless.

  1. How do one or two of mise-en-scene, cinematography, editing and sound create meaning and ...

    The connotations of this are danger and that they are trying to look for people like Billy. We the audience now react to the fact that we know it isn't going to be easy for Billy to get home safely without being caught.

  2. The Good Person of Szechwan, extract pg 105-108: As a director, discuss how you ...

    As such, I would direct Shen Teh's tone to be imploring and sincere in her idealism ? which never falters, even upon her realisation that to achieve them in her world is impossible (as opposed to w**g who tries to persuade the Gods to change their precepts, rather than change the world ? as Shen Teh wishes they would do).

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work