Keyframe no.1
The first key frame is set within the disruption scene, scene 8. This scene involves the liberation of Penny's oppression. From the above keyframe we see Penny smiling, falsely holding a birthday cake. Here, she is greeting Stan who has just got home from his manual labour job. Stan comes home, calling 'Where's my woman?'. Penny turns around after sticking the candles into a birthday cake, singing 'Happy Birthday honey!' It is at this point that the shot is taken.
Here, the camera acts as voyeur as we witness Penny's changing state before Stan realises this.
The keyframes take place within the kitchen; symbolising Penny's previously oppressed state and confinement.
Originally, Penny is wearing a deep red shift dress and stereotypical make up of the 1960s. The red dress symbolises her change of state (her clothing and colour adapts to her mentality and strength as the film develops). Penny's short, red shift dress symbolises her newly found strength, power and liberation. Whilst still wearing the apron, and acting out as a housewife, camouflages the continuing events.
This keyframe links to the aspects explored in my textual analysis. Although the setting is not as remote as those portrayed in Django Unchained and Inglourious Basterds.
However, I have adapted this theme to fit the era and modernity of the film. The setting is arguably remote as it is set within the confinement of a domestic, private area; only experienced by the couple. This aspect of mise en scene therefore links to my textual analysis; Tarantino uses remote areas to 'reinforce the surreal narrative.' These suspicious areas therefore add to the surreality and suspense of the narrative.
Keyframe no.2
I have edited the seventh keyframe to incorporate more light into the shot. This is to subtly convey that Penny's troubles are disappearing. The light portrays her new position of power in her relationship. The shot is taken of Penny holding a large kitchen knife. We do not see Penny's face or much of her boy language, which distances her and her emotions away from the violence. The shot is taken as Ray Charles - I can't stop loving you plays over on the radio. This therefore links back to my textual analysis. Although it is not exactly the same type of instrumental as La Resa and/or La Casa. The music juxtaposes Penny's strength and creates irony. The title of the song also juxtaposes the situation and relationship between Penny and Stan, injecting irony into the frame and referring to Penny's backstory and mental state. The calming music also incorporates a sense of stylistic violence into the frame; portraying that it is a calming and everyday act.
This frame also links to my textual analysis by hinting at Tarantino's violence on the crotch, and the emasculation of the once dominant male oppressor.
The second key frame includes Stan devouring his birthday cake. He sits at the dinner table hunched over, eating the birthday cake that Penny made, with his hands and chewing it, grossly, with his mouth open. He eats it as though he hasn’t eaten in years.
The cake subtly hints at a common aspect used in Tarantino's films, being food conveying something about the character's personality. The cake could be seen as feminine, foreshadowing Stan's emasculation to come.
The cake subtly hints at a common aspect used in Tarantino's films, being food conveying something about the character's personality. The cake could be seen as feminine, foreshadowing Stan's emasculation to come.
The shot is a medium long shot of Stan devouring his cake, his eyelids getting heavier as he increasingly grows tired. His elbows rest on the table, his head resting on one of his hands, the other in his cake. Stan wears his work overalls; unbuttoned, so that his dirty once-white vest is visible. His sleeves are rolled and pushed up on his arms.
The shot is taken from a slight high angle, to create a subtle position of hierarchy.
Keyframe no.3
The third keyframe is taken seconds after the first. Stan grows increasingly tired, still eating his birthday cake disgustingly with his hands. We now see Penny standing behind Stan, who is unaware of her position. Penny is standing over Stan, subtly portraying her new power and hierarchy over him. We see Penny stretching out a dishcloth above Stan, ready to gag him with it.
The frame is a continuous shot of the second keyframe and therefore is shot with the same aspects of cinematography; a medium long shot at a slight high angle. This shot type also shows the isolated situation between the couple; the shot shows no other person in the shot, whilst installing the idea of the film being set within the four walls of a domestic confinement.
This keyframe also links back to my textual analysis by the costume juxtaposing the stereotypical characteristics. In this frame, Stan wears a manual labourers work clothes; a pair of blue overalls rolled up at the sleeves and unbuttoned, showing his dirty white vest. He also has a packet of red apple cigarettes in his top breast pocket. Here, Stan's costume and physique seem stereotypically masculine. Whilst Penny is dressed as a stereotypical 1960s woman; dressing to impress her husband; wearing a short red shift dress, make up and an apron. However, the costume juxtaposes their characteristics. Stan is dressed as a typically masculine 'hard' stereotype, however he is emasculated and weakened in this scene. Whilst Penny is wearing a typical costume of the 1960s, her apron portrays her as a submissive housewife, seeking to satisfy her husband's every need, however this is juxtaposed as she gains the power, becoming the oppressor, whilst Stan becomes the oppressed.
The frame is a continuous shot of the second keyframe and therefore is shot with the same aspects of cinematography; a medium long shot at a slight high angle. This shot type also shows the isolated situation between the couple; the shot shows no other person in the shot, whilst installing the idea of the film being set within the four walls of a domestic confinement.
Keyframe no.4
The third frame includes both Stan and Penny. The shot is a medium long shot with a more obvious high angle. The shot is taken as Penny begins to wrap the semi-conscious Stan around with washing line, tying him down to the chair. Stan holds a helpless look on his face. We do not see much of Penny’s expression as she ties the washing line, however she is still standing, and hasn’t knelt down to make the action easier. This portrays her strong hierarchy over Stan. The half eaten cake still sits on the table in front of Stan.
The shot is taken as Penny asks Stan how the cake is. Subtly hinting that the cake is poisoned ‘I made it myself. You feelin’ it yet Stan? Tired? HUH?!”
This frame links back to my textual analysis by the use of ‘objects that one may think would not symbolise violence’. Throughout the beginning of the film, Penny’s home seems to hurt and oppress her, especially when Stan uses these objects against her. However, now her previously oppressed position has empowered her, making her the superior. These household objects being used as weapons link back to the whip used in Django Unchained and the baseball bat in Inglourious Basterds; highlighting stylised violence and the theme of the oppressed becoming the oppressor.
This keyframe also links back to my textual analysis by the costume juxtaposing the stereotypical characteristics. In this frame, Stan wears a manual labourers work clothes; a pair of blue overalls rolled up at the sleeves and unbuttoned, showing his dirty white vest. He also has a packet of red apple cigarettes in his top breast pocket. Here, Stan's costume and physique seem stereotypically masculine. Whilst Penny is dressed as a stereotypical 1960s woman; dressing to impress her husband; wearing a short red shift dress, make up and an apron. However, the costume juxtaposes their characteristics. Stan is dressed as a typically masculine 'hard' stereotype, however he is emasculated and weakened in this scene. Whilst Penny is wearing a typical costume of the 1960s, her apron portrays her as a submissive housewife, seeking to satisfy her husband's every need, however this is juxtaposed as she gains the power, becoming the oppressor, whilst Stan becomes the oppressed.
This is mentioned in my textual analysis when I compare the same juxtaposition of costume to Django and the Brittle Brothers in Django Unchained.
The fifth keyframe is a close up shot of Penny laughing, throwing her head back. This frame will subtly link to Inglourious Basterds, when Shoshanna laughs on the cinema screen, saying ‘You are all going to die’ to the Nazis. This shot will portray the ‘taste of your own medicine’ effect, as it also does in Inglourious Basterds. Like Shoshanna’s revenge, Penny has tortured her oppressor in the same, and similar ways that he did to her. This creates irony and makes the violence stylised. The spectator sympathises with Penny as we understand and align with her due to her backstory, therefore the violence and torture forced on Stan becomes justified and stylised, giving the spectator an emotion of thrill seeking revenge. The violence also becomes stylised as the audience understand that both Shoshanna and Penny are enjoying the violence that is inflicted upon the newly oppressed.
The sixth keyframe consists of Penny holding up Stan's lighter in front of his face. We do not see Penny's facial expressions, but Stan looks uneasy and concerned. Again, Penny standing over Stan constantly reinforces the new power and hierarchy over her oppressive husband.
This aspect of the film could link to aspects explored in my textual analysis. Penny inflicts violence on Stan using his own personal items (the lighter) this is similar to what Stan did to Penny at the beginning of the film; hurting and inflicting violence on Penny with her own personal belongings. This could link to my textual analysis, when I explain that in Django Unchained, Tarantino reinforces the theme of the oppressed becoming the oppressor by using the previous oppressor's belongings to inflict violence and gain power over them; creating a sense of irony and stylised violence. For example, in Django Unchained Django uses the whip that one of the Brittle Brothers was going to use on another black slave, to whip the other remaining white Brittle Brother.
Keyframe no.5
The fifth keyframe is a close up shot of Penny laughing, throwing her head back. This frame will subtly link to Inglourious Basterds, when Shoshanna laughs on the cinema screen, saying ‘You are all going to die’ to the Nazis. This shot will portray the ‘taste of your own medicine’ effect, as it also does in Inglourious Basterds. Like Shoshanna’s revenge, Penny has tortured her oppressor in the same, and similar ways that he did to her. This creates irony and makes the violence stylised. The spectator sympathises with Penny as we understand and align with her due to her backstory, therefore the violence and torture forced on Stan becomes justified and stylised, giving the spectator an emotion of thrill seeking revenge. The violence also becomes stylised as the audience understand that both Shoshanna and Penny are enjoying the violence that is inflicted upon the newly oppressed.
Keyframe no. 6
This aspect of the film could link to aspects explored in my textual analysis. Penny inflicts violence on Stan using his own personal items (the lighter) this is similar to what Stan did to Penny at the beginning of the film; hurting and inflicting violence on Penny with her own personal belongings. This could link to my textual analysis, when I explain that in Django Unchained, Tarantino reinforces the theme of the oppressed becoming the oppressor by using the previous oppressor's belongings to inflict violence and gain power over them; creating a sense of irony and stylised violence. For example, in Django Unchained Django uses the whip that one of the Brittle Brothers was going to use on another black slave, to whip the other remaining white Brittle Brother.
Keyframe no. 7
I have edited the seventh keyframe to incorporate more light into the shot. This is to subtly convey that Penny's troubles are disappearing. The light portrays her new position of power in her relationship. The shot is taken of Penny holding a large kitchen knife. We do not see Penny's face or much of her boy language, which distances her and her emotions away from the violence. The shot is taken as Ray Charles - I can't stop loving you plays over on the radio. This therefore links back to my textual analysis. Although it is not exactly the same type of instrumental as La Resa and/or La Casa. The music juxtaposes Penny's strength and creates irony. The title of the song also juxtaposes the situation and relationship between Penny and Stan, injecting irony into the frame and referring to Penny's backstory and mental state. The calming music also incorporates a sense of stylistic violence into the frame; portraying that it is a calming and everyday act.
This frame also links to my textual analysis by hinting at Tarantino's violence on the crotch, and the emasculation of the once dominant male oppressor.
Keyframe no.8
This keyframe is a close up shot of running water in the sink. This conveys phallic imagery. The camera pans out moments after we see Penny walk towards Stan with the knife. Once the camera reaches the sink of running water, the shot is taken. This is a subtle hint towards Tarantino's other work. This technique is used similarly in Resevior Dogs.
Keyframe no. 9
The next keyframe is taken from the inside of the fridge, as a point of view shot. This is also a subtle nod to Tarantino's work as this shot type is used constantly throughout his work; such as point of view shots from car boots (Pulp Fiction). The frame is a close up of Penny peeping into a tupperware box which contains Stan's 'manhood'.
Keyframe no.10
The next frame consists of Penny, sitting at her kitchen table with strong posture, about to eat a piece of quiche. The shot is taken from an extreme low angle to show Penny's new position of power. The fact that Stan is not in the shot portrays that she is independent, juxtaposing how she was at the very beginning of the film.
Keyframe no.11
The last keyframe consists of Stan serving to Penny's every need, whilst she sits, her legs crossed on the table, smoking one of Stan's old cigarettes. This subtly highlights the change in their relationship; at the beginning of the film Stan sits in this position, whilst Penny serves his needs. This keyframe incorporates aspects of phallic imagery with the use of the cigarette, whilst emasculating Stan.
I have manipulated the use of light in this shot to convey Penny's new position of power and loss of oppression.
The use of the cigarette in the shot creates a hint of irony and phallic imagery, hinting that male power and female oppression is no longer prominent within their relationship. The phallic imagery achieved from the cigarette subtly hints at this.
I edited the shot by using photoshop in this shot. Because of the use of sepia tone in these images, the cigarette was not as prominent. I enhanced this using another image of a cigarette, and added in smoke of the cigarette to make the shot more realistic and this aspect of the shot more coherent.
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