Black Swan (Aronofsky, 2010) opens, appropriately enough, with an abstract ballet sequence featuring the protagonist Nina (Natalie Portman) dancing in a black, empty setting. One powerful spotlight provides the sole illumination, reflecting that of a stage performance, which is used alternately to light Nina completely and to turn her into a silhouette as the camera moves and switches position frequently. Another purpose of this low-key lighting is to highlight the muscular tones and shadows on Nina's body, emphasising the physicality of dancers, which plays an important role throughout the film.
The soundtrack, in this case diegetic as the dancers can no doubt hear the music (although the sequence is a fantasy), is an adapted piece of classical music from the ballet Swan Lake, which the film revolves around. The sequence features little diegetic sound effects, other than the panting and breathing of Nina, and exaggerated, demonic avian screeching and flapping noises as a male dancer transforms into a winged monster.
Much of the scene's camerawork is handheld, in contrast with traditional methods of filming onstage performances. This brings the spectator into the scene, creating a more active than passive experience and heightening the audience's emotional response.
As the sequence ends and the soundtrack turns to the familiar leitmotif from Swan Lake, which recurs throughout the whole film, the image fades to black, fading in again on Nina, awake in bed, looking excited.
very good Marlon. It is sad that i had little idea just how well you could write because up to now you have done so little homework. You have a great talent in this area, even if here, it is a little short. I would have enjoyed reading some more.
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