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Alexandra Kirwin S12767551 MED6112 Film and Television Rhetoric

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Alexandra Kirwin S12767551

MED6112 Film and Television Rhetoric

Assignment 2 Research Portfolio

Contents

Introduction

Pages 2-3

Danny Boyle An Auteur In His Own Right?

Pages 4-9

Film Analysis

Pages 10-16

Conclusion

7

Bibliography

Page 18


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In what way does director Danny Boyle consistently portray

authorship within his films Trainspotting (1996), The Beach

(2000) and 28 Days Later (2002)?

Introduction

In the 1950’s French New wave cinema progressed to experiment with film forms that

had gone before them, pushing the boundaries of normal cinematic styles and leading

to an artistic movement that has changed film forever.

‘Cinema was in the process of becoming a new means of expression on the same level

as painting and the novel, a form in which an artist can express his thoughts, however

abstract they may be, or translate his obsessions exactly as he does in the

contemporary essay or novel. This is why I would like to call this new age of cinema,

the age of the Caméra Stylo’. (Astruc, 1948)


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In Alexandre Astruc's work in The Birth of a New Avant-Garde, he introduces the

figurative reference Caméra Stylo that symbolizes how film became an expressive art

form in itself that allowed its auteurs to express their personalities throughout their

work. Although Astruc’s views were perhaps discarded and unappreciated at the time,

they formed the basis of many of the ideas that were later expanded upon by the

Cahiers du cinéma.

The progression of the avant-garde movement soon influenced Hollywood cinema in

the 1960’s where Andrew Sarris, critic for The Village Voice further developed auteur

theory applying it to his work and studies on credible directors and their films.

Since the 1960’s it is clear to see how directors from all cultures have illustrated their

own personal vision and thoughts into their films, creating trademarks amongst their

body of work that marks them as Auteur’s in their own right.

With Danny Boyle recently setting the stage for a true representation of British

culture in the 2012 Olympic opening ceremony, he has now been said to be

‘somewhat of a national hero’ (Ross, 2013) who has ultimately defined himself as an

auteur amongst British audiences with the progression of his career.

In this article I will be uncovering what makes Danny Boyle so recognisable as a

director and how he can be seen as a true auteur in his own right. I will be looking at

his own cultural background and history and how this shines through in so many of

his films.


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Danny Boyle, An Auteur in his Own Right?

With a Golden Globe for Best Director (Slumdog Millionaire, 2008), a BAFTA for

Best British Film (Shallow Grave, 1994) and many other awards under his belt, it is

clear to see that Danny Boyle has come along way from Lancashire.

He was brought up in Radcliffe and raised in a working class Irish catholic

environment where he was an alter boy until the age of fourteen when he decided to

leave the church and try his hand at drama.

‘Whether he was saving me from the priesthood or the priesthood from me, I don’t

know. But quite soon after, I started doing drama. And there’s a real connection, I

think. All these directors — Martin Scorsese, John Woo, M. Night Shyamalan — they

were all meant to be priests. There’s something very theatrical about it. It’s basically

the same job — poncing around, telling people what to think.’ (Boyle, 2009)

Since then, Boyle has considered himself as a Spiritual Atheist which brings to light

his personality traits and views on life that are often evident in his films. A Spiritual

Atheist is described as somebody who does not have a literal sense of God but has a


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deep understanding of spirituality that gives them a ‘happy and healthy’ outlook on

life. (Centre For A Better World, 2004)

This upbeat attitude has been recognised by the directors collaborative screenwriter

Andrew Macdonald who has said that ‘Boyle takes a subject that you've often seen

portrayed realistically, in a politically correct way, whether it's junkies or slum

orphans, and he has managed to make it realistic but also incredibly uplifting and

joyful.’ (Macdonald, 2009)

When looking at some of Boyles most recognized work, Trainspotting, Slumdog

Millionaire and 28 Days Later are all ultimately sinister, dark stories however they

project ideas surrounding achievement and the celebration of life within their

narrative (this could perhaps relate to Boyles personality as a spiritual atheist). The

three male protagonists Mark (Trainspotting), Jamal (Slumdog) and Jim (28 Days

Later) are similar in many ways as they are all ordinary characters from deprived

backgrounds however throughout each movie they go on a journey of self discovery

to which their troubles and fears must be faced in order to finally rejoice and succeed.

This narrative is also evident in Boyles 2010 American production, 127 hours

following the true story of a mountain climber who becomes trapped under a boulder

while canyoneering alone near Moab, Utah and resorts to desperate measures in order

to survive.

When considering auteurs and their thoughts expressed in films it could perhaps be

said that within each Danny Boyle film there is a reflection of his own upbringing and

journey of success to which has proven him to be great British Figure in the film

industry.


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Boyles devout Irish mother, who died at a very young age, passed on to him her

philosophy of believing the best in people (Telegraph, 2009). Again Boyle’s films are

an example of this, he often see’s the good in his lead characters (Mark –

Trainspotting and Richard - The Beach) and proves this to audiences by a means of

illustrating their passage through life.

In his work in Theories of Authorship, John Caughie differentiates the factors in

which an auteur is justified. He states ‘Cahiers critics highlighted power of directorial

genius to other factors including industry environment and historical contexts.’

(Caughie, 1981)

These factors can be related to Boyle’s body of work, by leaving a personal imprint

on each of his films, his history and background shine through making the narrative

and tone of his work recognisable. It is clear to see from this that he has a great

respect for his own heritage and indebtedness to his parents. In Boyle’s acceptance

speech at the 2009 Oscars he shed light over the working class area of Radcliffe to

somewhat show recognition of how far he has come. Although a Hollywood audience

may not have understood his point, he knew it would be important to his father who

was celebrating the Oscars with the rest of Boyles family and friends at St Mary’s

Social Club, Radcliffe.

In 2014, it was announced that Boyle would become a patron of HOME in

Manchester (The Stage News, 2014). His commitment and northern rootedness gives

Danny Boyle the great British following he deserves. This is perhaps why he has

become the artistic face of the 2012 Olympic Opening Ceremony – a prestigious role

to be honoured.


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Auteur theory solely focuses on the authorial role of the director that is often

privileged over other roles in a films production team. When considering Danny

Boyle as an auteur it is important to look at the many collaborations he has formed

over his working career – a contrasting point for theory.

‘Meaningful coherence is more likely when the director dominates its proceedings’

(Sarris, 1968)

From one aspect Boyle’s career as a director and role as a British auteur supports

Sarris’s work in Toward a Theory in Film History as his films are ultimately more

attractive for audiences when his name is in front of the production. Perhaps not for

all audiences but certainly that of film fanatics and critics. The progression and

success of his career has created an increasing fan base that not only recognise his

style of filming but also deeply appreciate it. This would arguable mean that with any

Danny Boyle film comes credit, no matter how poor and disappointing the content

could be, it would still be valued because of his established director profile.

However Boyles name does not ‘take over’ the production and become more

important than the film itself to contrast Kael’s argument ‘auteur theory belittles other

bodies involved in the production such as screenwriters.’ This is not the case for

Danny Boyle and his well-recognized team.

Producer Andrew Macdonald and screenwriter John Hodge have worked alongside

Boyle since the beginning of his directing career. The trio’s work in Shallow Grave

(1994) earned Boyle the Best Newcomer Award from the 1996 London Film Critics

Circle. Since then Boyle continued to work with the successful team and brought


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audiences Trainspotting in 1996. It was shallow Grave and Trainspotting that caused

critics to claim that Boyle had revitalized British cinema in the early '90s. (The

Guardian, 2007).

Danny Boyle has since worked with the pair on many of his other productions

including The Beach and 28 Days Later. It is also both of these productions that

Boyle has collaborated with author Alex Garland who wrote both novels of the same

name. The stories have attracted Boyle and lead him to bring the novels to life with

the trusting help and adaptations from screenwriter John Hudge.

Many other collaborations are present throughout Boyles body of work, specifically

with actors he uses over and over again such as Cillian Murphy (28 Days & Sunshine)

and most frequently used- Robert Carlyle who he has cast in all three films that will

be analyzed in this article.

Although he can be seen as an auteur in his own right, he brings with this role credit

to everyone involved that he has so proudly collaborated with, however this could

arguably not be said for the original and most memorable partnership with Ewan

McGregor.

In 1994 Danny Boyle directed Shallow Grave, a dark comedy thriller that became his

directing debut. He cast Ewan McGregor in his first starring role and since then has

collaborated with the actor in many of his films, the most memorable being

Trainspotting, made only a year after Shallow Grave. The direct/actor relationship

blossomed and the pair formed a close friendship and professional bond. Ewan

McGregor worked alongside Boyle from the start as both of their careers in the film

industry flourished with the help of each other. In Boyle’s third film working with

McGregor he moved to Hollywood and sought a production deal with a major US


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Studio to make A Life Less Ordinary (1997) starring a young Cameron Diaz.

Although Boyle had made it to Hollywood the production relied on British funding.

Soon after having found success in the States, Boyle and his team went on to make

The Beach (2000) an adventure drama based on the Novel by Alex Garland. It was at

this point in Boyle’s career where his working relationship and close personal

friendship with Ewan McGregor came to an end. After promising his collaborative

star the lead role he then cast American actor Leonardo DiCaprio due to his thriving

star persona in Hollywood.

"You think you're moving up, it's the illusion that you think you're moving up,

therefore you're going to need a bigger star to sell the movie. You learn to stick with

your roots." (Boyle, 2013, The Jonathon Ross Show)

After admittedly treating McGregor badly, the pair did not speak for several years.

It is clear that the journey Danny Boyle embarked on when striving to make bigger

productions has perhaps guided his future career.

The Beach was disappointingly a box office flop and in an interview discussing his

feud with McGregor, Boyle concluded ‘I think I'm better at making films on my home

turf, really. You learn from experience and I've learnt that through The Beach’.

(Telegraph, 2009). The article’s accordingly subtitled ‘Danny Boyle will always be a

Manchester lad, mad about cinema’.

Boyle has gone too and throw working in America during his career. After The Beach

he did not return to the states until 2010 where he worked with James Franco in 127

Hours. As mentioned above, however successful Boyle seems to get he often comes

back to his roots, for one reason or another, consequently reinforcing his British

Authorship profile and perhaps gaining some credit from American audiences.


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Film Analysis

As briefly mentioned earlier, a Danny Boyle film is perhaps more recognisable to film

fanatics and critics who have a more grasped understanding of cinematography.

However successful he has become and however well known his films are, it takes

someone with a keen eye for mise en scene to truly recognise Danny Boyle’s

individual style of filming.

When thinking about the development of auteur theory and how it is being applied to

directors work in this generation, it is important to draw upon Peter Wollen’s concept

that authorship has ‘survived because it is indispensible’ (Wollen, 1972). For as long

as there will be Danny Boyle films gracing our cinemas there will always be critics.

Perhaps his role and work as an auteur is and will always be indispensible. For a

director who has made it to the states and back and maintained a large British fan

base, it would be hard to imagine his work being forgotten.

In Wollen’s work in Signs and the Meaning of Cinema, he discusses how auteur

structuralism helps reinforce a films recognition to its director. He relates to


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Geograffy Nowell – Smith’s idea that ‘repeated motifs give artists work structure, it

helps distinguish one body of work from another’. (Nowell – Smith, 1968)

To compliment both Wollen and Nowell-Smiths views, C. Paul Sellor’s states that the

concept of authorship theory is based upon director’s traces and personal imprints left

on their films and how this consequently makes their work recognisable. He argues

‘authorship treats authors as ‘symptoms of texts’ through repeated motifs and

ideological over determinations.’ (C. Paul Sellor’s, 2010) When considering all three

theorists work, they can all be related to the stylised body of work created by Boyle.

Throughout his directing career he has been known for his hard hitting plots, raw

cinematography and what can only be described as true grittiness. Because of this,

each of his films all stay parallel to one another being instantly recognisable by the

camera grain alone.

As discussed above, a very common factor many of Boyle’s film share is the strong

and often dark narrative and ideology within them. Plots involving male protagonists

that are in some ways lost in society seem to attract him and with this he creates

ultimately hard hitting cinema. However similar the issues represented in all of his

films are, it is the way in which he uses symbolic mise en scene, gripping shot types

and an empathetic sound score to impact audiences. This is what makes his films so

memorable. This effort can be seen in two of the films he is most recognised for,

Trainspotting and 28 Days Later. I will be comparing the ways in which Boyle has

left his mark when directing both productions and to contrast this analysis I will be

exploring how his British style is still present in one of his less successful films – The

Beach.


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In 1996 Boyle took on Irvine Welsh’s novel Trainspotting and succeeded in making a

divisive British drama that follows the lives of a group of heroin addicts in the late

1980’s. By giving a dismal representation of an economically depressed area of

Edinburgh, the film targets issues such as urban poverty, crime and the glorification

of heroin. It is here that we see main character Mark Renton (Ewan McGregor)

journey through his immoral passage of life in hope of fitting in with society’s

expectations.

Trainspotting has a potent focus of drug addiction, often referring to Heroin as a

person that helps them through the difficulties of being Scottish. This theme of

national identity centers the whole narrative of the film where Mark’s speech about

life links the begening of the film to the end.

‘Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big

television, choose washing machines, cars, compact disc players and electrical tin

openers. Choose good health, low cholesterol, and dental insurance. Choose fixed

interest mortgage repayments. Choose a starter home. Choose your friends. Choose

leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a

range of fucking fabrics. Choose DIY and wondering who the fuck you are on Sunday

morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game

shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of

it all, pissing your last in a miserable home, nothing more than an embarrassment to

the selfish, fucked up brats you spawned to replace yourselves. Choose your future.

Choose life... But why would I want to do a thing like that? I chose not to choose life.

I chose somethin' else. And the reasons? There are no reasons. Who needs reasons

when you've got heroin?’


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The gang of boozed up addicts follow Tommy (one of the less corrupted characters)

to the countryside where he has planned for the extremely unenthusiastic group to go

on a mountain hike.

‘It’s the great outdoors. Doesn’t make you proud to be Scottish?’ Tommy preaches in

a way of trying to salvage his friends. In notion of swigging straight vodka out of the

bottle, lead protagonist Mark replies ‘It’s shite being Scottish, we’re the lowest of the

low’. The mise en scene of this film sets the tone of the narrative and ultimately sums

up marks life in a nutshell. The mountain that symbolises freedom away from

addiction and hope of a better life is shunned away by Marks depressive attitude and

encouraging friends. They start to walk away from Tommy (the voice of reason) and

the ray of sunshine that is falling over the mountain. The same symbolization of

freedom is shown later on in the film where Mark makes a more acceptable life for

himself in London that is short lived due to the return of his friends. They infect his

newfound existence as if they are a disease dragging him back to Scotland and his old

ways.

What makes the mise en scene in the mountain scene so memorable is the use of a

wide shot, something that Boyle is hugely recognised for. The shot is breath taking.

The use of colour grading and emphasis on the sky has made this scene considerably

the most memorable in the film.

This stunning use of wide shot has also been well used in the opening sequence of 28

Days Later. The film focuses on Jim’s realization of what has happened to the world

he once knew. He wakes up from a coma in a deserted hospital four weeks after an

incurable virus has spread throughout the UK. This zombie themed post apocalyptic


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film has the same gripping quality of Trainspotting. As Jim leaves the hospital room

he has been locked safely in, he approaches a deserted London that builds suspense

for audiences to watch. Boyle shot the scene at 4am ensuring that the litter had not

been collected from the council and that the roads were blocked off whilst filming

was still in process. This is further example of how committed Boyle is to his films

and how maximum impact is achieved. These wide establishing shots of iconic

London shown distressed and deserted give the film extreme realism. It convinces

British audiences that the apocalypse really has come or perhaps could come.

Another well recognised trademark of Boyles is the frantic shot. He uses fast pace

editing to create panicked shot sequences that ooze over-arching manic energy. This

is depicted in Trainspotting where Mark has been forced by his parents to ride out his

recovery cold turkey, at home in his bedroom. The sequence of shots are disturbing

for audiences to watch, we really understand the struggle he is going through as his

worst nightmares come alive to haunt him under the sheets. This tension is also

formed throughout 28 Days Later where flashes of the infected are presented to

audiences so frantically, the red eyes and dripping bloody mouths create a haunting

effect on screen. Both of these sequences in Trainspotting and 28 Days Later are

accompanied by forceful sound effects that further grip audiences. The screams of

Mark’s heroin addicted friend and the growls and heavy breathing of the infected can

at times be too unsettling. The score in both films, especially 28 Days Later make the

films remarkably memorable. For example John Murphy’s instrumental track ‘In a

House, In a heartbeat’ has served as the overall soundtrack for 28 Days later. The

track builds high levels of suspense and is used throughout the film in moments of

pure pressure.


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With regards to the mise en scene and sound used in Boyle’s film, it is the grainy

camera effect he uses that is the most distinguishable. It creates a raw exposed look

that can make audiences feel uncomfortable at times but additionally pulls them in to

the narrative. It is this effect that is used in all of Boyle’s films apart from his

American productions. They require higher budget cameras that consequently loose

the graininess as well as Boyles trademark. So how can we tell these American

production are still Boyle’s?

In his production The Beach (2000) Boyle shows the journey of twenty-something

Richard who travels to Thailand and finds himself in possession of a strange map that

leads him to a secret hidden paradise.

As well as the story of personal struggle being apparent in The Beach, the film also

uses the same main character narration that Trainspotting does to further support the

films narrative technique.

His use of wide shots are also present where we are presented with glorious

cinematography of an almost surreal lagoon – again creating the most memorable

scene in the film as he did in Trainspotting and 28 Days using the same technique.

The trademark frantic shots are also used where we see lead male protagonist Richard

running through the jungle in his some what unstable state. Flashes of disturbing

images are also present in the shark attack scene where we see the bloody bodies of

the victims spread across the beach. It is the same shots and mise en scene that creates

a troubling impact on audiences. As an audience you know when it is Boyle that has

affected you in this way.


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All of the elements that Boyle has used in these three films ensure that audiences will

remain totally immersed in what they are watching, ultimately making the film

memorable and recognisable. For example after receiving the tense viewing

experience that it delivered by Boyle, audiences will be keen to watch his other films

where they will find the same thrill. This concept could arguably relate to Colin

McCabe’s theory of audience and director interaction that ‘redefines authorship as a

negotiation between directors and their audiences.’ (McCabe, 1985).

Boyle has created a collection of trademarks that he uses throughout his body of

work, this is arguably due to his own personal expression as an auteur but also due to

the success he received by using these techniques early on in his career. He knows his

style attracts audiences therefore he has continued to film in this way, pleasing

audiences furthermore.


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Conclusion

It is clear to see that throughout the progression of his career Boyle has grown as a

director learning from each collaboration and production, becoming the appreciated

British Figure we know so well. He has stayed humble and true to his roots and

shown a great reflection of his own life in his films. His body of work has become

recognisable to audiences due to his memorable trademarks and the extreme viewing

experience he delivers. So can Danny Boyle be considered as an auteur?

His many collaborations and credit to those involved challenges some aspects of

auteur theory however it also embraces the new age of directors and their authorship.

In the 1950’s Boyle would not have been considered an auteur in his own right but in

this generation of film he can certainly be granted the title, and perhaps even be called

a Collaborative Auteur.

It is directors like Boyle who should be celebrated and appreciated as their work stays

true to the expression of art in film and does not become obsessed with how much

money is made in the outcome.

He has established himself as an auteur in Britain with his impressive collection of

films and his astounding work on the Olympic opening ceremony. He has gained

enough credit to direct in America however Danny Boyle will always be home to

Britain just as his work is.


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Bibliography Astruc, A. ‘The Birth of a new avant-garde: la camera-stylo’. In Peter Graham, ed., The New Wave, London, Secker & Walberg, 1968, pp. 17-23; first published in Ecran Français, no. 144, 1948. Caughie, J. Theories of Authorship: A Reader. London: Routledge & Kegan Paul in Association with the British Film Institute, 1981. Hoveyda, F. ‘Autocritique’, Cahiers Du Cinema, no. 126, December 1961, p. 45 MacCabe, C. Theoretical Essays: Film, Linguistics, Literature. Manchester: Manchester University Press, 1985), p130-50. Nowell- Smith, G. (1968) Luchino Visconti. Third Edition. London: British Film institute. P10-11. Pauline, K (1985) ‘Circles and Squares’, in Gerald Mast and Marshall Cohen (eds) Film Theory and Criticism: introductory Readings. Third Edition. Oxford: Oxford University Press, p541-52. Wollen, P. (1972) Signs and meaning in the cinema. Third Edition. London: Secker & Walberg. P79-80 Sarris, A. The American Cinema: directors and directions, 1968, p45. Sarris, A. ‘Toward a Theory of film history’, in The American Cinema, New York, E. P. Dutton, 1968, p.30 Sellors, C. Paul (2010). Film Authorship, Auteurs and Other Myths. London: Wallflower Press. p2. Websites, Articles and Interviews Ross, J. The Jonathon Ross Show, 23rd March 2013, Series 4 Episode 12 Grice, E.. (2009). From Fleapit to the Red Carpet. Available: http://www.telegraph.co.uk/comment/4789045/From-fleapit-to-the-red-carpet.html. Last accessed 12th Nov, 2014. Martinson, J. (2007). Bringing a ray of Sunshine to British Films. Available: http://www.theguardian.com/business/2007/apr/06/film. Last accessed 12th Nov 2014. Leach, B (2009), Slumdog Millionaire director Danny Boyle almost became a priest. Available: http://www.telegraph.co.uk/culture/film/4238043/Slumdog-Millionaire-director-Danny-Boyle-almost-became-a-priest.html. Last accessed 12th Feb 2014. Merrifield, N. (2014). New Manchester venue Home appoints Danny Boyle as Patron. Available: http://www.thestage.co.uk/news/2014/01/new-manchester-venue-home-appoints-danny-boyle-patron/. Last accessed 12th Nov 2014. Centre for Spiritual Atheism. (2004). Spiritual Atheism. Available: http://www.centerforabetterworld.com/SpiritualAtheism/about-spiritual-atheism.htm. Last accessed 12th Nov 2014.


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Appendixes Trainspotting – ‘It’s shite to be Scottish’ Mountain scene - 32 minutes 11 seconds – 34 minutes 11 seconds. 28 Days opening sequence – Deserted London – 5 minutes 40 seconds – 8 minutes 2 seconds. Filmography Shallow Grave (1994) Trainspotting (1996) A life less Ordinary (1997) The Beach (2000) 28 Days Later (2002) Slumdog Millionaire (2008) 127 Hours (2010)

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