4.5 DISCUSSION La Haine (1995) re Cinematography

 Purpose

This discussion gives you the chance to apply the knowledge you attained through the reading to La Haine.

Directions

Reread the end of Chapter 6 and the study of how the text describes the properties of a shot and lighting styles. Apply your understanding of cinematography and cinematic properties and conventions to La Haine. Give examples to bolster your analysis. You may also include concepts from the previous chapters.

Discussion topics should include, but are not limited to:

A discussion of cinematography as it relates to La Haine.

What are some of the themes of La Haine and how did the director choose to represent them visually.

What non narrative patterns are created through the cinematography? 

Why is the film black and white?

How is depth of field used to represent the various environments the characters inhabit through out the film?

My Post: 

A cinematography tool that used in La Haine (Mathieu Kassovitz, 1995) is changing the depth of field. 

In a scene, Saïd and Vinz begin their walk into the lobby of one housing projects. The depth of field is constantly changing but mostly follows Vinz.  By depth of field, I mean the field of vision that is the sharpest, where the camera directs our focus with its focus.

The scene starts with a pause and we capture Saïd in a shallow depth of field, we can see him the sharpest, Vinz is still coming behind him - not as sharp. When he catches up Vinz says, “Look, it’s your sister”. There has been a pattern in the dialogue setting up this expectation of Saïd’s protectiveness over his sister. We know something will happen.

Saïd is now gone from the shot and there is a tracking shot that follows Vinz. As the depth of field increases, we see Hubert sharply, deep in the back corner doing a drug deal. We are seeing him through Vinz point of view through a metal gate. The gate area goes out of focus, as we see Hubert clearly.  Then we then see a reverse shot of Vinz looking back from Hubert’s area to him through the metal gate and there is a shift in focus with Vinz in a medium close up and the metal gate in blurred. This is another pattern shown visually in the story of these two characters staring at each other with constant suspicion.

The tracking shot of Vinz continues until he finds Saïd. He is in another corner lecturing his sister. This is seen through increasing the depth of field to make the background sharper as Vinz gets closer.  The tracking shot stops when Vinz stops and then we are in a long shot of Saïd, Vinz, and his sister with friends chatting in the room.

There are huge slanted window panes in this room. It appears to be the light source. Using a window as a key, the camera can point on the subject and then there can be three-point lighting with a fill light and a dimmer back light. Perhaps also the natural light was assisted with reflector boards to cover the room.

The film is in black and white as the characters live far from colorful Paris and excess. They are living in a world lacking the color of luxury and inherent safety in which the others in Paris or France live. They live in modest, bare bones poverty in government housing. They are honest and raw with no extras in their life. Except this one gun, that although it is not in color, is very shiny in the film. This film reminds me of the black and white as it is used in Neorealism. It shows the truth of a group of people and where there is little to no hope in the present social structure.

Response from Robert: 

Ida,

I love your statement at the end with the black and white color choice.  The first time I saw the film I thought to myself...wow, this is great.  A part of Paris that we 'don't' see.  It seems as though the director was going for a Neorealistic tone of just being in that housing project and I loved that he captured seemingly real faces of the young sneering guys and the various expressions of the police.  One was smoking and wishing all the fighting would be over, the others pensive with the impending ripples of conflict sure to come.

Comment from teacher: Anna Geyer

Ida,

Yours is a great description of how the use of depth of field can help direct and audience to what is important within a shot. And I think you are correct that although many scenes appear to be available light, that light is augmented to get produce the desired atmosphere. One technique often utilized is to place lighting instruments outside the windows to add greater intensity, the more light the more you can easily stop down and create a deep focus shot.

Yes, the film leans heavily on Neorealism, but what is interesting is the film was shot in color and printed in black and white in post.

Final Answer Back from Anna
Grade: 10/10

Ida,

Once again a really thorough excellent post. Details like the pattern in the dialogue contribute to your classmates understanding of both the piece and analysis itself.

Thank you for bringing your research into the reply, I never know how much of those type of details I should provide - I hope to encourage students to add greater depth to the production discussion and really appreciate when students do. 

My answer back to Anna - before - not after grade
That's so interesting about it being filmed in color. Thanks. 

My answer back to a student - mainly on this photo:

Thanks. Hello Ely, 

I love the screenshot you did of the gathering on the rooftop. My favorite parts of the film were those filmed in the projects. I was puzzled if it really was shot there or in a studio. I saw a Criterion short video where Mathieu Kassovitz, the director had the crew live in the projects for four and a half weeks and was super respectful of everyone. He said the only way to shoot in the projects is to not ask government permission but the resident's permission. He let everyone know he was anti-police and on their side. 

Using that rooftop space was an excellent idea to take advantage of the natural lighting. I talked about the lighting, which I think was natural in one scene but nothing as brilliant as that rooftop scene. It was also nice to see the young guys happy and listening to music. 

Ida

My answer to another student:

Hi Mickey,

You're so right in your interpretation of the black and white in terms of the association with newspapers and documentaries. I was just rereading the text and they do use that great term "unidealized realism." I went into a very flowery, meaning of life statement about the filming in black and white but I think you did a succinct job. 

I also discussed depth of field and enjoyed the different examples that you used. It does cause mystery by having the person walking up to them blurred out. Nice visual storytelling. 

Ida