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Kira Moore

How far do your chosen films demonstrate a constant shift between passive and active
spectatorship?
In both ‘Winter’s Bone’ (WB) and ‘Inception’ (I) there is some form of shift between passive
and active spectatorship however, I think there is a more constant shift in spectatorship
demonstrated in ‘I’ than ‘WB’.
‘WB’ encourages more active spectatorship through some of the independent film
conventions. Primarily, this is seen through the use of handheld camera. Instead of scenes
seeming much more manufactured where the camera is stationary and actors hit their marks
within the frame; ‘WB’ was filmed using a technique where the camera followed the actors
not the other way around. Due to this there is a much more authentic almost documentary
like atmosphere to the film as a whole. This is demonstrated very clearly during the scene
where Ree has to go and collect her father’s hands as proof of his death. The camera is
handheld throughout the scene and follows Ree’s movements and reactions. Even the
close-ups of the chainsaw are from her POV. In contrast to this, ‘I’ adheres to the
mainstream action/adventure conventions. The shots used are often very artificial and the
actors hit their marks. One example of this is in the elevator scene where Ariadne in Cobb’s
subconscious. The way the camera remains still while the scene contains a lot of action
gives a very artificial and manufactured atmosphere like when the elevator quickly moves up
but the camera within doesn’t move. This encourages passive viewing as, at this point in the
film, the spectator can just take things at face value and doesn’t have to read into the
content of the shots. Both of these are action sequences yet they have very different effects
on the viewer due to the different camera techniques. ‘WB’ highlights the raw and shocking
aspects of the scene through handheld camera while ‘I’ tries to lessen the impact of the
scene through stationary camerawork.
The shift from passive to active in ‘I’ comes through more in the complex plot. Rather than
being technically complex, ‘I’ relies on the plot to engage the viewer in active spectatorship.
A sequence that demonstrates this would be the jump sequence where everyone returns
through the layers of the dream. There is a distinct use of parallel editing that means the
viewer has to pay more attention as the action cuts from one layer to another to another.
However, the shots from each layer are simplistic and repeated so it is fairly easy to tell
which layer is which. This also comes through in the mise-en-scene as each is a different
setting and stylised very differently (geometric hotel hallway to snowy mountains). The
spectator has to be active to follow everything that is happening at this point. Similarly to
this, while the plot of ‘WB’ is arguably quite simple the lack of explanation of the plot means
the viewer has to be nearly constantly active to follow the events. This is shown in the
sequence where Ree returns to a property she has previously been warned not to return to
and is beaten by a group of women. This is very abrupt and uncalled for in the passive
spectators’ eyes and shifts them to active. This then allows the understanding of the relation
and motivation of these women. Nothing is outright explained in ‘WB’ where nearly
everything important is in ‘I’.
However, ‘WB’ has frequent breaks from the action and plot through use of establishing and
environmental shots. ‘I’ has very few of these at all. These breaks from plot give the viewer
chance to process and draw conclusions on the film and its plot. There are two readings to
this. One, that this means it encourages passive viewing as there are points where nothing is
happening and the spectator can relax. Two, that it encourages active as it gives the
spectator time to process all the information given and fill in the blanks for what isn’t stated.
Vice versa in ‘I’ because there are no breaks it could mean that it encourages active as the
spectator must be constantly engaged or it could mean it encourages passive as it gives the
Kira Moore

spectator no time to process the content. This is seen in the quick transitions between dream
levels.
The overall stylisation of each film also highlights the shift in spectatorship. ‘WB’ is very raw
and authentic while ‘I’ focusses more on fantasy elements. ‘WB’ has very little if any non-
diegetic sound and it is focussed around a very small series of sets, most of which are
authentic. In ‘WB’ the ending is quiet and reflective of the opening. This simple format
reflects the content of the film to an extent as a very basic style is used; the people shown
also have only the basic necessities due to poverty. The lighting is completely natural as well
as shown in the cutting off hands sequence as it is extreme low-key lighting. This
encourages active viewing as there is no sense of spectacle. However, this simple
filmmaking style makes for the impression of a complex style as it is difficult to gain the full
picture in many of the sequences. This is clear in the cutting off hands sequence as we only
see it through Ree’s perspective and the shaky, handheld camerawork makes it difficult to
see the body or the actual hand they’re cutting off especially due to the lighting. This creates
tension and shows how Ree doesn’t want to see her father’s body. Hence this encourages
active spectatorship as the viewer is left to fill the missing images with their mind’s eye. ‘I’,
on the other hand, uses a lot of special effects and non-diegetic music to build tension or set
the tone of a scene. This is effectively shown in the ending sequence where the recurring
Hanz Zimmer theme is played over the landing and reunion montage. Though this could be
seen as a very complex stylisation it, in direct opposition to ‘WB’, gives the impression of
simplicity. Everything is very clean and clear with artificial high-key lighting meaning the
viewer can become passive and simply take in what they are being shown.
So, overall, ‘WB’ encourages more active spectatorship through its stylisation and the
relationships it explores but there are constant shifts to passive due to the environmental
shots and relatively simple plot. ‘I’ encourages more passive spectatorship due to its clear
stylisation and explanation of complicated points but there are many shifts to active due to
the complex layers of the action sequences and plot.

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