Film Analysis - Becoming Jane (2007)

An Overview

Becoming Jane is a historical-biographical film about author Jane Austen (played by Anne Hathaway) and is about her personal triumphs and life events – which focuses mainly on her relations with a man named Thomas Lefroy, which Austen herself referred to as a “flirtation”. As many of the events take place before and during the writing of ‘Pride and Prejudice’, the film finds itself referencing the story indefinitely and her literature.

The films co-producer Graham Broadbent once regarded that they were trying to create their "own Austenesque landscape."    

Such a romantic grounding of course results in a romantic setting and many of the films directorial decisions made by Julian Jarrold, mirror those of Joe Wright’s from 2 years prior because many Period Drama directors use similar techniques as the style is so similar and has simple nuances. Therefore, I may unintentionally repeat some points that I may have previously. 

Camera Shots

• The Non-direct 2 Shot

 

Interestingly, the '2 shot' is used in many different ways within this film. Upon many occasions, the 2 characters within the frame are not always placed conventionally; meaning that we can see one more than the other (usually Jane over her male counterparts) and, as a result, these frames feel more organic and honest. The exact style of these frames can vary from a long shot, mid shot or establishing shot but, for case of continuity, I have decided to refer to them as 'non-direct 2 shots'. A theme within this films camera shots that is also noteworthy is the amount of rural settings used as backdrops for certain scenes, which give the frame more implications (I will discuss this further in the mise-en-scene section). 

• The Silhouetted 2 Shot

In similarity to 'Pride and Prejudice', the close up 2 shot it used to give a traditional sense of romantic imagery within a frame. However, in this film I found there to be an abundant amount of silhouetted 2 shots. The examples I have chosen are chronological and are evidently so due to a variation in proxemics and lighting within the frame. To a certain extent, the director (Julian Jarrold) uses the silhouetted 2 shot as a 'go-to' structure within the films framing to allow the audience to process and see the progression of the romantic leads (through use of lighting and proxemics between them). This style of shot also allows the viewer to see both characters facial expressions equally, ensuring that the viewer understands the emotions within the scene. As, after all, the period drama is usually about what is not said and about what is implied. 

• The Long 2 Shot

                             

Many of these camera shots are used in collaboration with a tracking shot, although some of these shots are completely static and allow a further focus on dialogue. Once again, there is many rural settings used that focus on woodlands or stately gardens. These types of 2 shots are used differently that those above because they give a further emphasis on setting, space, time and character relations within the appropriate context. 

• The 2 Shot in a Group Shot

 
                                  

Within this period drama, I found it interesting that Julian Jarrold skilfully placed the key characters within a frame to ensure a group shot begins to feel like a 2 shot. This begins to develop a connection between 2 such characters and could, perhaps, imply they favour one another to anyone else within the room. I have found this to be a useful device as it builds upon characters romantic connection very subtly, which is a serious tendency for the period drama. 

• The Over-The-Shoulder Shot

This shot allows is useful as it allows for the viewer to see both characters expressions and reactions within a conversation. Such intimate angles also allow for a deeper connection or a deeper understanding of a character's feelings. Of course, the period drama is led by the art of conversation so shots like this are used very heavily. 

• The Singular Shot

Becoming Jane seemingly has an abundant amount of one shots, or 'singular shots' of our protagonist. These can vary in terms of technical form and always play around with the rule of thirds whilst using focus pulls. Such shots are important because they create emphasis on the character and a connection with the character. These nuances are vital within the period drama as they are character driven and if the viewer is not connected to the protagonist, everything else within the narrative can become tedious. 

• The Establishing Shot

As is the case with many period dramas, director Julian Jarrold uses long shots of historically relevant houses within their setting to establish our location. These shots usually allow for a visual of the surrounding areas, as well as the sky, which is important because it allows the viewer to very quickly gain knowledge of the time of day and the weather (which can also imply emotions). The style of house depicted within the establishing shot is also important as it gives an implication of class and wealth.

Besides from using houses, rural frames are also used as establishing shots because rural settings are often used as a backdrop to scenes. Notably, many establishing shots within this film contain characters. Meaning, no time is wasted on too many singular setting shots as the character has already been placed within their surroundings. This can keep certain segments, when worked with editing, at a faster pace as fewer shots are used to establish setting and location.   

As a progression to this, director Julian Jarrold even uses some group shots as establishing shots which is an interesting choice due to its transgression of traditional period drama, that would not use whole group shots immediately. 

Sound

• The score for ‘Becoming Jane’ is all original and was composed by Adrian Johnstone.

• In similarity with most period dramas, the score is used as a device to establish the emotional setting and feelings within the scene that is presented.

• I have noticed that Johnstone seems to move away from a single piano score and uses many hints of subtle orchestral accompaniments, using mainly woodwind or string instruments. These are contextually relevant choices and focuses, once again, on the rural nature of the narrative. Also, these hints give the score layers of simplistic complexity whilst adding layers to character understanding. These layers are vital as, when heard under conversations, they give the actual scene more density and plausibility.

• Like many soundtracks, the score will build at key moments within the diegesis to add importance. However, I found Becoming Jane’s score has many subtle builds throughout. This is interesting as it means that the music can follow the dialogue more accurately and add more intensity through certain moments. This also means that the score feels more seamless and fits ever-more into the film. It is also enhancing as when techniques like sound bridges are used, to a certain extent they can go unnoticed; allowing the viewer to be ever-more indulged into the world and narrative created.

• Perhaps most importantly, is the choice to have silence at during certain sections of dialogue and scenes. This can be to ensure the viewer focuses on the shot or weather sound (digetic) but this decision usually implies that emphasis and attention should be given to the dialogue. This is because period dramas are driven by characters and emotions, through what they say. 

Editing

• The most dominating form of editing within 'Becoming Jane' is no doubt continuity editing (invisible editing). This is because the work is based around a real woman and thus is set in the real world. An attempt to make the diegesis as indulging as possible is made through the use of editing in order to submerge the viewer into an “Austenesque landscape”. The fact that shots are used seamlessly after one another within scenes allows a very natural flow to the story telling within a context that very much calls for it. 

• Master shots are also used in an interesting way within the film. Instead of moving away and coming back to the 'main' shot, the master shot is left almost unedited. Meaning, during certain scenes, in order to allow the viewer to focus on the dialogue and subtext, director Julian Jarrold doesn't complicate matters with too many varied camera shots and changes. By sticking to simpler shots that have an abundant amounts of mise-en-scene whilst aiding the progressive story telling, Jarrold creates more setting. An example of such editing is evident here:

• In accordance to other period dramas, Fades and Dissolves are used to signify a change of time and/or a change of setting. These transitions can be used very slowly in order to ease the viewer into the change of scenes at a slow pace, as period dramas do have a tendency within editing techniques of taking their time and not rushing. This is certainly the case with 'Becoming Jane', mostly. There is, however, a noteworthy use of editing near the beginning of the film when Jane is reading out a lengthy essay on her sisters' engagement. In order to create humour, relatively quick fades of shots on bored faces and overlapping digetic sound or constant reciting is used to emphasise the passing of time. This sort of stylistic choice is rare within the period drama as it, inadvertently, brings attention to the viewer that what they are watching is false and has been created for their enjoyment.

• Whilst using a shot-reverse-shot style of editing upon occasion, this film also uses a significant number of eye-line matches. In my opinion, this allows the viewer to become even more engrossed within the story as it feels like one is physically there. Especially when this technique is used in settings like dining room tables and outside scenes that emphasise on where Jane, as a character, is looking.

Mise-en-scene

• Costume, of course, plays a massive part of mise-en-scene within the period drama. The costume designer Eimer Ní Mhaoldomhnaigh seems to make all the right decisions surrounding the characters. Her designs not only give vital clues about characters class, age, occupation and personal character but also add to the tangibility of the time setting due to a contextually accurate silhouette and design. Her costumes also seem to be very conscious of colouring. Throughout the film no gaudy or exaggerated colours are used, and the palette seems to be based around browns, greens and blues.

• Not only are colours important in terms of costume, they are also important in terms of camera shots, within camera shots the colours are always very earthy and rural. Director Jarrold seems to focus on the rurality of the narrative and uses colours to convey seasons in combination with this. This is a vital choice as the story of Jane Austen relies very much on a rural upbringing and setting as it ends up influencing her literature heavily.

• In terms of sound, the pronunciation of words adds to the entire aspect of the film. It goes without saying that 18^th century language differs very much to 21^st century language. Therefore, I found it interesting that many actors spoke in 'standard English' in order to add to the authenticity of the film. It addition to this, perhaps the most effective of actors were those whom spoke with accents as this adds to a sense of regional identity but also plausibility.

• Finally, the camera shots also have a tendency to be very large in 'Becoming Jane'. What I mean by this is, is that wide shots are used frequently in order to make the actors look smaller within their surrounding. This reinforces the idea of dominating nature but also of how small people technically are in a world so large. 

Particular Scene

I find this scene incredibly useful when understanding the period drama and the importance of an emotional, character driven script alongside a sense of confrontation and pain. The setting of a wood seems to add a layer of drama to the scene somehow due to a sense of isolation between the two lovers. Considering that this is a film about literature, it is perhaps important to mention the presence of woods in fairy tales. The woods as a setting is notorious for being a place where good can meet evil, where the truth is unveiled and where a protagonist can be presented with a choice. It's symbolic implications like this that, in my opinion, add layers of complexity to a scene and give a piece of media more depth. 

Within this scene a number of earlier discussed techniques are used – like:

• Singular Shots
• Shot-reverse-shot
• Proxemics
• Close ups
• Tracking
• Over-The-Shoulder
• Silhouetted Two Shot
• A dominated Master Shot

Interesting choices made within this scene:

• In context to my comments made about the woods being an isolated setting, it is interesting that this scene contains a third person. Considering that the third is deaf, it is clear that this character is used as a springboard to imply that these two love one another. This results in the third acting rather like a viewer, who is currently confused about the other two's relations but also provides the truth that they clearly have feelings for one another.
• The shaking nature of the camera shots within this exchange is wroth discussion. In order to create a sense of urgency and pace, the director has used relatively shaky images that move unpredictably. This is perhaps also to provide the sense that we are the third man at certain points, making the shots borderline POV which is very untypical of a period drama.  

Film Analysis - Pride and Prejudice (2005)

An Overview

Interestingly, when analysing a Period Drama, it is notable to mention the stories origins, themes and motifs. Pride and Prejudice is the second book published by Jane Austen in 1813 and is a romantic-realist novel that focuses on the tribulations of the relations between Elizabeth Bennet and Mr Darcy with focus upon the entire Bennet family as a subplot. Key themes focus mainly on conventions of marriage in aspect of class and wealth, gender, knowledge and ‘staying true’ to oneself in the face of moral dilemmas. 

These are all driven by the early 19^th Century society that expects woman to marry for monetary gain, as they cannot work on their own accord, and, in turn, expects men to marry for the sake of happiness. These themes can be best summarised by the books opening:

“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife”

Knowledge of such themes is important as it allows us to analyse directorial decisions by Joe Wright more clearly and have a greater understanding of the work as a collective. 

Camera Shots

• The Two-Shot

It is relevant to note that although a two-shot can vary from a close-up, to a medium-long or a long, the two-shot within this film is usually always used to emphasize the romantic entanglement and feelings between the two main characters. Such a use of this shot instead of an over-the-shoulder shot is interesting as it gives the audience a more equal representation of both characters whilst giving a more traditional sense of romance. 

• The Over-the-shoulder Shot

This shot is used in this film during most conversations as it is a good way to allow the viewer to see a characters facial expression which is often a way good device in order to display emotions and reactions. Such detailed use of camera shots are important when the dialogue of the film is moving fast, in order to keep the viewer aware. Not only this, but the over-the-shoulder shot allows the viewer to feel even more engaged and submerged into the presented narrative.

• Long Shots / Establishing Shots

     

Interestingly, the establishing and long shots within this film are usually used simultaneously as one-shots. This is to place emphasis on the amount of space within the shot but also to place emotions within the rural setting. The beauty of the countryside is also given pride and place as the foreground of the shots in order to give an organic feel to the narrative. The weather within the composition of these shots also gives the viewer hints on how they should be feeling. 

• Proxemics

Although the use of proxemics is not technically a camera shot, the placement of characters contributes so much to the period drama's camera shots - it is hard to avoid a discussion on it. To use the picture above as an example:

        - The men within the frame are standing near the background, out of social courtesy but 
          also because the relations of the females within this scene is more important. 
        - Elizabeth Bennett (far left) is placed separately from her family and is given a lone spot
          on the sofa to display she feels differently from her family members but also perhaps to 
          signify the independence of her womanhood (as she wishes not to marry). 
        - Bingley's sister is given almost-central position within the frame and room to infer she 
          is of a higher social class and is thus given importance over the other females. Her 
          posture can also imply this. 

• Character as subject

One notable thing I have found when analyzing this film, is that main characters are always given prime position within a frame and are usually always tracked - in order to keep them as the centre of attention. This is especially important in crowd scenes when the viewer can easily be distracted by other goings-on. 

Sound

• The soundtrack to this film is mainly an accompaniment and enhancement to the emotion of the scene with a contextually relevant use of score – involving time relevant tendencies. As the book was published in 1813, Dario Marianelli uses a majorly piano based score. This is because a single piano melody allows a simplistic yet complex sound which allows the viewer to focus on the dialogue within scenes but can still allow their emotions to be directed by the score. Essentially, Marianelli allows his music to work with the dialogue whilst both enhancing but not dictating the scene.

• In continuation, a single – slightly rough piano score – can be connotative of many things. Whether these be to represent an independent Elizabeth Bennett or a lonely Elizabeth Bennett changes throughout the film but the fact the sound is slightly rough (as certain notes played are out of tune – especially in the films establishing first scenes), for me, implies rural living that is not classically perfect yet still beautiful.

• Interestingly, some sections of music are repeated, or looped. For example, the music used in the first scene of this film is used several times at key life events but also as a sound bridge. This can be to show the progression of time whilst the continuation of the emotions of our protagonist. A key moment when such a moment is used is when Georgina (Darcy’s sister) plays this piece of music, as diegetic sound, to signify that although Elizabeth is not at home because Darcy is here, she feels at home.

• With all of this in mind, Joe Wright occasionally cuts off music accompaniment entirely. This tend to be in key, emotionally driven scenes that will affect the plot of the narrative significantly. Such choices allow the viewer to focus on the dialogue entirely - which will not only connect them to characters more, but also develop the viewers understanding of the story.

Editing

• The style of editing that is most used in Pride and Prejudice is continuity editing (invisible editing). This involves cuts that are practically seamless to allow the viewer to feel as engaged and submerged into the world of the drama as possible. This is because the period drama emphasises realism, Pride and Prejudice is after all a realist novel, and believability of the story is crucial.

• Shot-reverse-shot is also a popular editing technique. This is normally used in important conversations, like those of Elizabeth and Darcy, to allow the viewer to see the reaction of what is said and how they are feeling. Such a decision is usually made when dealing with a close-up one shot.

• Within this film, the editor also uses a considerable amount of master shots. This allows the editing to seem more flawless, but also to remind the reader of certain themes or to feel more affiliated with certain characters. Notably in many romantic exchanges, the master shot will be a mid-two-shot that emphasises the proxemics within the frame, to relay more about the characters relations. A master shot is also used at dinner table and crowd scenes within the film to denote a sense of place and environment.  

• The dissolve or fade as a transition is also seemingly popular within this film. After important scenes or events, once a sense of peace or end has been restored, the frame will dissolve or fade and work in harmony with a sound bridge to transport the viewer to the next section of narrative. As is with many editing styles of the period drama, this is subtle in order to not jar the story telling nature or to disturb the viewers’ emotional connection or interest.

• Joe Wright also uses the screen direction importantly; as I discussed earlier in the ‘Camera Shots’ section, many shots in conversation can be static and do not track as there is no movement within the scene. However, when the camera is tracking, the editing (more often than not) will follow the subject within the frame and all editing choices focus on keeping our attention and connection with such characters.     

Mise-en-scene

• It is reasonable to argue that most of what makes Pride and Prejudice (2005) successful is the effective use of mise-en-scene within frames. Perhaps most important is the costume of characters. Not only should this denote time and place, it should also denote class;

• On the female Bennetts, the costume designer Jacqueline Durran usually uses a simple silhouette and earthy colours, like beige and greens and browns, with an abundant amount cotton in order to have connotations of simple country life and perhaps a lack of financial prosperity. The other females in the film, like Bingley’s sister, have more shaped or exaggerated silhouettes with more gaudy colours like purple or yellow on more expensive or well-treated fabrics to signify social and financial prosperity.  

• The costumes on the men in the film can also contribute a considerable amount to the mise-en-scene. There are of course more obvious choices, like placing Mr Wickham in a soldiers’ uniform, that allow the viewer to get a sense of character but, like many aspects of this film, the most interesting of choices are the subtle ones. As men’s fashion within this century between the classes was similar, class is once again denoted by colour and materials. However, the style of the costume is telling. For example, if a man has his jacket off we can infer that he is within comfortable company or is in a relaxed setting – this can also be inferred from the style of hat and if the hat is worn. This is once again when all choices made must be contextually accurate and fitting to the diegesis presented.

• The mise-en-scene of the setting chosen or location scouted is vital for frame composition. Not only must the setting be contextually accurate (no telephone lines, modern houses, trains or car sounds) but the setting should display emotions within the scene. In one notable scene, the setting of a large feudal house in a drawing room lends itself to be the perfect backdrop for cold exchanges. In combination with this, the mise-en-scene of proxemics within scenes must work coherently with the setting and dialogue. 

Particulars

• In another notable scene (above), during an apparent referendum of Elizabeth’s and Darcy’s relations, it is raining heavily; such a cinematic techniques can imply so many things within a scene, but I feel Joe Wright uses the rain to display the violent and extreme emotions that are felt. On one hand happiness should be felt as this is, after all, a proposal but on the other hand this man is also responsible for the unhappiness of her sisters – hence the conflict in the weather. Furthermore, it can be considered to be a beautiful cliché within filmography to have a romantic scene within the rain which causes the scene to be that bit more enticing and tragic.   

Within this scene a number of earlier discussed techniques are used - like:

• Over the shoulder Shots
• Medium close-ups and close-ups
• Shot-reverse-shot / Reaction Shot
• A lack of musical score that is replaced by exaggerated sound of rain (diegetic) due to an emphasis on dialogue
• Shots that allow for the background to be seen (the countryside and rain)
• Dark, earthy colours of composition of frame to reflect the mood of the characters

Interesting choices made within this scene:

• The use of proxemics to display our characters inner conflict with themselves, their sexuality and their moral dilemmas. The closure of space at 1:50 signifies an increase of tension due to a deeper innate conflict and the even more intense lean taken by Mr Darcy at 2:35 displays self-restriction as both characters clearly want to embrace. Such physical choices are important as it implies to the viewer that the romance is not over as, though they are parting on bad terms, they still both have a sexual and emotional desire for each other.

• Pace also plays a key part in this exchange. It is noticeable that the scene seems to build in pace, and tension, to then drop back to its original state; this is mainly done through the pace of dialogue - but editing also plays a pivotal role. At around 2:00, as the characters grow more angry and frustrated, the editing becomes quicker. Though it is still subtle and still comes under continuity editing (invisible editing), it still plays a key role in the scenes pace and thus the emotion within the scene. 

The Period Drama as a Genre

The Period Drama

Drama as a genre:

“A drama film is a film genre that depends mostly on in-depth development of realistic characters dealing with emotional themes… such as… moral dilemmas, racial prejudice, religious intolerance, sexuality, poverty, class divisions, violence against women and corruption that put the characters in conflict with themselves, other, society and even natural phenomena. Drama… includes subgenres such as romantic drama, sports films, period drama, courtroom and crime” - 
https://en.wikipedia.org/wiki/Drama_film

 The Period Drama as a genre

“A historical period drama is a work of art set in, or reminiscent of, an earlier time period. The term is usually used in context of film and television. In an informal crossover term that can apply to several genres but is most often heard in context of historical dramas and romances” - https://en.wikipedia.org/wiki/Historical_period_drama

As genre definitions go, the period drama has a considerable amount of rules – Most importantly that it is set in the past and conforms to the context that is trying to be achieved. As it is a subgenre, the period drama must also conform to themes and motifs within drama films which involves the development of a protagonist in an in-depth, ‘realistic’ way. Since the story will not take place in a modern setting, the period drama must conform to its time period for sake of continuity and plausibility. For example, an Italian 17^th Century Duke would not be wearing trainers.

Therefore, when perusing the period drama, production must have a clear sense of historical accuracy in mind of setting, dialogue and costume. This is why the period drama can also be referred to as a ‘Costume Drama’ (http://www.oxforddictionaries.com/definition/english/costume-drama). It is also notable to mention that many period dramas are based on classical literature that has captured the imagination of many. The period drama is not time-exclusive but many reputable works originating from the 18^th and 19^th Century - with key romantic works from authors like Austen, Bronte and Hardy - have found themselves to be adapted successfully on screen several times.  

In terms of my production, I will be focusing on the hybrid subgenre of Romantic Period Drama which focuses, traditionally, on the interaction of a male and female whilst using usual drama themes of moral dilemmas, class divisions, sexuality and violence against women. These themes are very relevant in the late 18^th / early 19^th Century which is the time period that I shall focus on when analysing, understanding and learning about the period drama as a genre. This knowledge will then influence my product.