Mood Board - 'Drive' and 'Requiem for a Dream'

Drive- Nicholas Winding Refn
 A shallow depth of focus portraying the main characters glaring expression creates unsettling atmosphere typical to that of a generic drama piece. Almost 'golden' streetlamp lighting is suggestive of nightlife and a life of crime; by only illuminating half the character's face, it is heavily implied that only half of him belongs to this 'sadistic' or 'unlawful' lifestyle. Although, the lighting itself is still a golden, sepia tone, suggesting goodness is seeping through into the characteristics of his persona, and creating early character development typical to the neo-noir conventions of cinema, which aims to manipulate audiences into taking interpretations through style, not substance.

The close up of two characters sharing an intimate moment is not typical of crime-dramas, which are generally in deficit of candid romance in order to appeal to a target audience of predominantly men. The plain wood furnishings of the mise-en-scene suggest a sort of 'traditional' love, based on gentlemanly behaviour and caring mannerisms. The male character stands in front of the only light outlet in the scene, further proving the somewhat patriarchal theory that a man should be protective of his significant other. However, in the context of crime-drama, it can be interpreted that 'Drivers' character is actually sheltering 'Irene', the woman, from the light so she cannot be viewed by any predatory villain or attacker, thus creating suspense.

Neon lighting is typical of 21st century neo-noir cinema, and 'Drive' is teeming with UV neon iconography. In this example, the use of neon blue lighting behind the palm tree suggests the breakthrough of daylight, indicating a fresh start. However, as mentioned before, neo-noir cinematography generally aims to manipulate audiences into thinking one way, whilst narratively, telling an opposite story. In this instance, although we may first believe that a new day is making an appearance, the reality is that 'Driver' is actually leaving a day of good-doings behind him, and is entering his second life, the life of crime. By manipulating audiences through the use of lighting, an essence of betrayal is established; vital in neo-noir cinema as it maintains the aura of enigma.

Requiem for a Dream - Darren Aronofsky 
The context of this capture is that the characters in question have just taken a dose of heroin, and the camera is spiral-panning out on them- indicating a relationship that is spiralling out of control, not only with each other, but with the lethal drug as well. Dark and modest clothing symbolises an affair with the alternative lifestyle, connoting essences of stereotypical failure and poor decisions, something that is a prominent feature in Requiem for a Dream. As the characters lay together, they are portrayed as equals, on equal levels, with equal framing space. However, 'Harry' is the only character on screen with a visible light source beside him, indicating that he is the beholder of good things, and Marion (his girlfriend) is dependent on him for her happiness. At first glance, this shot indicates everything that is good their relationship, equality, tranquillity and an aura of being content, in comfortable silence. However, after a deeper search, it is also clear that it portrays everything toxic about their relationship, a patriarchal ideology of feminine dependency upon a man, overwhelming mess and exhausting fatigue.

This screen capture not only symbolises a clearly physical distance, but an emotional one as well. The body language is cold, bitter, resentful. Marion looks ready to leave, Harry looks as though he is waiting for her to walk out, neither of them seem to care. Even the blue, cool toned colour palette oozes an aura of bittersweet ice, a sweet love turned sour. Harry sits leaning forward to the audience, as if he is claiming responsibility for the downfall of their relationship, he is apologising to the audience for ruining the convention that generally keeps audiences endeared. His side of the screen is littered with glasses and various items of drug taking equipment. Whereas Marion sits away from both Harry and the audience, claiming no responsibility, distancing herself from criticism out of fear and emotional exhaustion.

Perhaps one of the most beautiful examples of cinematography within the whole film, the requiem along the pier compensates the tragic ending of the primary characters with exquisite imagery of peaceful departures into the merciless yet magnificent sea. Perfect symmetry entices the viewer after showing some of the most graphically violent and emotionally disturbing scenes, seizing their attention once more through the means of aesthetics and art. A pier leading off into the sea celebrates a peaceful end, and a bitter consequence. It is difficult to analyse this image without spoiling the film. Alas, to me, I see the tragedy of Harry's downfall as something enigmatic, and strangely beautiful. His desperation to fix his relationship is captured effortlessly by portraying Marion in the body of an oasis, Harry chases the figure in the red dress, screaming Marion's name, before he realises she's not there, and wakes from his dream to the cold and harsh reality, to face the consequences of his reckless life choices. Juxtaposition of such glorious cinematography and violent context is an art that is excruciatingly difficult to pull off, but when done correctly, the effects are forever-lasting.