AN ANALYSI S O F M ISE EN SCÈNEIN AVANT- G ARDE SURREALI ST FILM :

“BLACK M O O N”

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K I N K I N S U S A N S I

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E N G L I S H D E P A R T M E N T

F A C U L T Y O F L E T T E R S

P A M U L A N G U N I V E R S I T Y

T A N G E R A N G S E L A T A N - B A N T E N

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CHAPTER I INTRODUCTION

1 .1 Background of the S tudy

Introduction to film, Mise en scène , Avant-garde, Surrealist film, and Black Moon.

A successful film depends on a good story as well as the representation of the visual.

Each genre has its own customs and characteristics in fashioning the visual.

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1.2 Scope and Limitat ion of the Study

The scope and limitation of this study is limited to analyze the aspects of mise en scène in avant-garde surrealist in film “Black Moon”.

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1.3 Statements of the Problems

1. What roles are played in the film “Black Moon”?

2. How are the mise en scène elements in the avant- garde surrealist film “Black Moon”?

3. What are the characteristics of surrealism that film “Black Moon” have?

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1.4 The Goals of the Study

1. To describe the roles that are played in the film “Black Moon”.

2. To know how are the mise en scène elements in the avant-garde surrealist film “Black Moon”.

3. To find out the characteristics of surrealism that the film “Black Moon” have.

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1.5 Functions of the Study

1. To writer, through this analysis can apply her knowledge from her study.

2. To introduce mise en scène technique, avant-garde and surrealist film to readers because these topics are seldom discussed.

3. The functions of this study basically can improve the writer’s knowledge and the readers.

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1.6 Systematical Presentation

The first chapter is Introduction which consists of Background of the study, Statements of the Problems, Scope and Limitation, Goals of the Study, Functions of the Study, and Systematical presentation.

The second chapter consists of Related Studies, Review of Literature, and Theoretical Framework.

The third chapter is Research Methodology which consists of Approach of the Study, Data Source, Collecting Data and Method of Data Analysis.

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C H A P T E R I I R E L AT E D S T U D I E S , R E V I E W O F L I T E R AT U R E , A N D

T H E O R I T I C A L F R A M E W O R K

Nurfaridatun (2012) entitled

“The Psychology Analysis Criticism of the Main character of Law Abiding Citizen Film”

Alexander Waters (2011) entitled

“Discerning a Surrealist Cinema”

Joi D. Chadwick (2011) entitled

“Surrealism Is Not Dead: A Look at Surrealism in Contemporary Mass Communication Via Analysis of Modern Popular Films”

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2.2 Review of Literature

2 . 2 . 1 F i l m The definition of film The differences among the term film, movie, and cinema

2.2.2 Mise en scène Mise en scène [miːz ɑːn ˈsen] refers to the visual designs of a film that work

together to build the story.

The aspects of mise en scène including setting, props, costume, makeup, light, color, the staging: movement and performance

Mise en scène is beneficial to captivate the spectators.

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2.2.3 Avant-garde Film

The word is taken from French means a creative group in the innovation and application of new concepts and techniques especially in art. Its birth was inspired by contemporary art. The first currents happened in France, Germany and Russia.

Avant-garde film has an absurd visual and a form that straying from establish structure.

Avant-garde film rebelled monopoly of film corporations that controlled film production, distribution, and exhibition.

Two major factors that triggered the avant-garde’s birth: economics (the condition of production) and aesthetics

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2.3 Theoretical Framework

2 .3 .1 The or y o f ac t i ng

“The essential requisite for a performer in the movies is what Antonioni called expressiveness. That is, he or she must look interesting” (Giannetti, 2002:250)

“The nuances of the dialogue must be conveyed through vocal expressiveness” (2002: 247-248).

Close-up shot will focus on facial expression to reveal the character’s true feeling.

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Mise en scène and Surrealism

Theory of Mise en scène

“What possibilities for selection and control does mise-en-scene offer the filmmaker? We can mark out four general areas: setting, costumes and makeup, lighting, and staging.” (Bordwell and Thompson, 2008:115)

Theory of Surrealism

The whole theory of surrealism in this study is taken from Richardson (2006)

“It evokes an undefined relation, a meeting point between the opposites of light and dark, presence and absence, actuality and imagination which suggests the actualization of the supreme point which Andre Breton identified as the aim of surrealism.” (p. 1)

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CHAPTER IIIRESEARCH METHODOLOGY

3.1 Approach of the Study Qualitative as an approach based on Denzin and Lincoln (2003)

3.2 Data Source Primary data source: the film “Black Moon” Secondary data source: books and internet

3.3 Collecting Data

3.4 Method of Data Analysis The data are analyzed through descriptive analysis technique Identifies the characters in the film “Black Moon” Analyzes the mise en scène to find the characteristics of avant-garde surrealist

film from the film “Black Moon”.

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CHAPTER IVFINDINGS AND ANALYSIS

“Black Moon” is filmed in 1974 which connected to mythology, psychology and politics.

Inspired by “Alice in Wonderland” updates into modern time.

4.1 The Roles To find surrealistic features in roles

No. Roles Surrealistic Feature

1. Young Lily Imagining of gender war and unicorn, speak to unicorn

2. Old Lady Bedridden, speak in gibberish and lucid languages, speak to rat, telepathic communication

3. Sister Lily Communicating telepathically especially through eyes

4. Brother Lily Communicating telepathically especially through touch

5. Unicorn  (supporting role)

Personified like a human, wise, smart, annoying, poetical

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4.2 Mise en scène of Avant-garde Surrealist Film

To find surrealistic features in mise en scène

No. Aspect Surrealistic Feature

1. Setting A mysterious conflicting countrysidePiglet in the kitchen

2. Props Juxtapositions of a peaceful countryside and unusual props such as tank, gun, gas mask So many alarm clocks in an ordinary rooma big size glass

3. Costume Countryside women in army uniform

4. Makeup Shiny makeup to create dramatic face

5. Color Earth and feminine colors

6. Lighting Dark and natural light source

7. Staging: Movement And Performance

Poetically speaking, telepathic communication, eating raw meat, talking with animals, chasing unicorna girl dandled an old lady

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Setting and Props

COUNTRYSIDE

Where men and women kill each other

THE HOUSE: KITCHEN

describes the characteristic of femininity. The unusual from this kitchen is a piglet and

a big size of glass

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Costume, Makeup and Colors

Feminine style of the rebellious ‘70’s era

The combination of white, pink, and scarlet is perfect to leave a feminine impression emphasized her inclination to femininity

Shiny makeup to create vicious and mean face

The use of makeup here is to give the effect of dramatic and to create tension.

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Lighting and Staging: Movement and Performance

Lighting

Dark and natural light The motivating light sources come from the window, the hearth and table

lamp.

Staging: Movement and Performance

Various facial expressions and gestures create from this scene like irritating, offended, angry and curious.

Scene: A conversation with unicorn,

offensive remarks

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4.3 The Characteristics of Avant-garde Surrealist film

Style: Formalism or anti-realism and anti-narrative

Inner world experience and imagination

Structureless: No hero, no introduction to characters’ background no plot development

Dialogue: Little dialogue, poetically speaking, unrelated topics

Imagery:

Auditory: gun fires, tenor singing, alarm clocks, talking unicorn and rat, crying flowers, woman’s scream

Visual: gender war, unicorn, talking rat

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Symbols:Alarm clock

bird’s wing

Personification: Unicorn, rat, flowers

Images: Shocking images: Massacre, human and animal Slaughter, hit a badger, Eat raw meat

Unrealistic images: black fat unicorn, gender war men vs women, talking animals and crying flowers

surrealist painting

Duration: 01:36:21/not a full length of film

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CHAPTER V5.1 Conclusions

The roles in this film are also unique, eccentric,and rebel the traditional rules.

The mise en scène of avant-garde surrealist film is made to convey inner world or personal vision such as dream, imagination, spirituality, desire, psychological condition, poetic vision and political view of the filmmakers.

After analyzing the mise en scène in “Black moon”, the characteristics of avant-garde surrealist film are found such as dark, depict of dream or imagination, desire, political statement, psychological issue, poetic vision with structure of anti-narrative, less dialogue, embellished by imagery and symbols also painting.

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5.2 Suggestions

Firstly understand the genre because sometimes people think that fantasy film can be included into this genre.

Take a look carefully at the mise en scène can help us to find the characteristics of avant-garde surrealist film.

Pay attention to the surreal things or events that we never find in everyday situation because it might be a symbol that has a meaning and send a message

Since surrealist film is connected to psychology, understand the characters’ feeling

Since this type of film is sensible to the political climate, so try to find out what is going on in the world that relate to the film.

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BIBLIOGRAPHY

Books

Abrams, Nathan, Ian Bell, and Jan Udris. Studying Film. London: Arnold, 2001.

Balazs, Bela, Edith Bone (translator). Theory of the Film: Character and Growth of a New Art. London: Dennis Dobson Ltd, 1952.

Barnett, Daniel. Movement as Meaning in Experimental Film. Amsterdam: Rodopi, 2008.

Bohn, Willard. The Rise of Surrealism. New York: State University of New York Press, 2002.

Bordwell, David, and Kristin Thompson. Film Art an Introduction (eighth edition). New York: McGraw-Hill Companies Inc., 2008.

Breton, Andre, Richard Seaver, Helen R. Lane (translator). Manifestoes of Surrealism. Michigan: Ann Arbor Paperbacks, 1969.

Dick, Bernard F. Anatomy of Film (third edition). New York: St. Martin’s Press, 2005.

Dixon, Wheeler Winston, and Gwendolyn Audrey Foster. A Short History of Film. New Jersey: Rutgers University Press, 2008.

Giannetti, Louis. Understanding Movies (ninth edition). New Jersey: Prentice Hall, 2002.

Hauser, Arnold. The Social History of Art Vol. IV. New York : Routledge, 1999.

Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press, 1960.

Richardson, Michael. Surrealism and Cinema. New York: Berg, 2006.

Ritchie, Jane, and Jane Lewis, ed. Qualitative Research practice: A Guide for Social Science Students and Researchers. London: Sage Publications Ltd., 2003.

Ross, Michael Elsohn. Salvador Dali and the Surrealists. Chicago: Chicago Review Press, 2003.

Vaneigem, Raoul, Donald Nicholson-Smith (translator). A Cavalier History of Surrealism. Edinburgh: AK Press, 1999.

Vogel, Amos. Film as a Subversive Art. New York: D. A. P, 2005.

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Internet Resources

The Black Moon (Lilith). Retrieved on March 15th, 2014 at 09.11 p.m. From:

http://www.cornerstone-astrology.com/articles/black_moon_lilith.htm

Black Moon (1975) Film Festival: Malle's 'Black Moon'. Retrieved on March 8th, 2014 at 08.46 p.m. From:

http://www.nytimes.com/movie/review?res=9D00E4D81039E63BBC4850DFBF66838E669EDE&

Interview with Louis Malle (1976). Retrieved on April 12th, 2014 at 09:22 p.m. From:

http://www.rogerebert.com/interviews/interview-with-louis-malle-1976

Andre Breton. Retrieved on April 18th, 2014 at 11: 46 a.m. From:

http://www.surrealists.co.uk/breton.php

Salvador Dali. Retrieved on April 18th, 2014 at 12:13 p.m. Form:

http://www.surrealists.co.uk/dali.php

The Surrealist Manifesto. Retrieved on April 18th, 2014 at 12: 22 p.m. From:

http://www.surrealists.co.uk/surrealist_manifesto.php

Black Moon (1975). Retrieved on March 8th, 2014 at 09:06 p.m. From:

http://www.tcm.com/this-month/article/180498|0/Black-Moon.html

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APPENDIX

ANDRÉ BRETON (FRENCH, 1896–1966)

The Founder of Surrealism

SALVADOR DALI (SPAIN, 1904 – 1989)

The Most Famous Painter and Figure in Surrealism

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FILM COVER