“Bye-Child”

Written and directed by Bernard MacLaverty

Based on a poem by Seamus Heaney

Study Pack

Film Terminology

Film Techniques

Dialogue – conversation between characters.

Shot –a continuous section of film without a cut.

Cut – change from one shot to another.

Sound – sound effects or natural noises.

Music – Orchestral score, recorded in a studio.

Setting – Where (geographically) and when (time period) the film

is set.

Lighting – How is light (or lack of light) used to affect the

mood/atmosphere in the film.

Colour – Colours of objects and costumes often have symbolic

meaning through connotation.

Character’s Appearance - costume, make-up, hair, acting style

reveal information about characters.

Mise-en-Scene - This means ‘everything you can see on screen’.

Try to remember that everything is there for a reason!

Diegetic Sound

• Sound whose source is visible on the screen or whose source is implied

to be present by the action of the film:

voices of characters,

sounds made by objects in the story,

music represented as coming from instruments in the story space ( = source music).

Diegetic sound is any sound presented as originated from source within the film's world. Diegetic

sound can be either on screen or off screen depending on whatever its source is within the frame

or outside the frame.

Non-diegetic Sound

Sound whose source is neither visible on the screen nor has been implied to be present in the

action:

narrator's commentary,

sound effects which is added for the dramatic effect,

mood music.

• Non-diegetic sound is represented as coming from a source outside story space.

Camera shots

Film makers use certain camera shots to create different effects

Extreme close up This type of shot shows something in a lot of detail and allows the audience to concentrate on what is in the shot, without other things distracting our attention. Can show that something is important.

Close up

This shot shows a character’s face and will focus on their emotions. Only

one character is in this type of shot and it can make the character seem

isolated and alone.

Mid-angle shot

Shows characters from the waist up and allows more than one character to

be in the shot. This shows characters’ body language and how they react to

each other.

Long shot

Usually more than one character is shown in a long shot. This type of shot

shows the full length of a character and can, again, show their body

language but in less detail. It allows the setting and other details to be

shown in the background.

Angle of Shot

Different effects can also be created by the angle of the shot used.

High angle shot

This type of shot is used to look down on the characters or action. It can

make the characters look small, vulnerable and powerless.

Low angle shot

Is used to look up at the action and characters from below. Can make the

character look powerful and increases their stature.

Panoramic shots are also used to catch all of the action that is taking

place. These shots tend to pan from above and they look down on the

action, taking in a lot of detail. They show the landscape and setting.

Point of view shot shows the action from the character’s perspective.

The audience sees what the character sees.

Speed of Shot

Shots can range from slow motion to high-speed shots, all of which have different effects.

Slow motion. Parts of a scene may be shot in slow motion to make it more dramatic and to

ensure that we catch all of the action. Because the shot is slower, it can also add to the suspense of

an important moment.

Hi-speed. When shots are speeded up, it is usually to try and capture the speed of, for example,

the action in a battle scene, so that we can imagine what it is like being involved in the fight.

Speeded up action can also be very dramatic.

Type of Shot

Panning shot: Panning is the name given to the movement of the camera to follow the action.

Tracking: Tracking is the name given to the movement of the camera alongside the subject. The

camera is usually mounted on some kind of trolley to avoid the camera shaking.

Pre-flashback: The Opening Scene

1. The film opens with a point of view shot which jerkily pans across the

inside of the hen house. This hooks the viewer in as they question what could

be the source of the point of view. The shot settles on the largest gap and on

the moon thereby highlighting this as symbolic. This hooks the viewer in as

they question who or what is watching the moon. The moon is surrounded by

a faint halo of light – usually an indication that a bad event is imminent

(usually bad weather). The moon symbolises madness in folklore (lunar, lunatic). The moon has

connotations of werewolves – where the external force of the moon removes the humanity from a person

resulting in a metamorphosis from man to animal - and introduces the idea of a subhuman creature

emerging. This is further emphasised by the diegetic sound of rustling and the faint sound of a dog barking

in the background which helps establish the idea of lost humanity and animalistic transformations – a key

theme in the film as the bye-child is stripped of his human qualities due to the terrible abuse suffered. The

dark lighting which closes in all around the small gap also helps to establish a feelings of claustrophobia

and entrapment which are also key themes. Sets up a sinister and strange mood/atmosphere and there is

a feeling of confusion.

2. The second shot of the film is an extreme close up of a white feather

caught in chicken wire. Whilst this gives an indication of the setting being a

hen house, it also provides a clear focus on the symbolic significance of this

image. The white colour immediately establishes links to the ideas of

innocence and purity while the feather represents freedom, vulnerability and

peace. Therefore, the fact that it is caught in the chicken wire conveys the concept of corrupted innocence

and entrapment. Throughout the film it is clear that this symbol relates to both the child and the mother

– both are innocents and left trapped and powerless because of the abuse that they have suffered. This

establishes sympathy for both characters. The non-diegetic sound of monotonous string instruments

conveys feelings of sadness and loneliness. As well as the moon and the house, the feather itself almost

seems to be a source of light – the bye-child’s love of light is a central motif in Act 1 of the film which the

viewer understands to represent his need for love and comfort.

3. The diegetic roar of the delivery van bridges the transition between this and

the previous shot. The engine make a low growling sound which penetrates the

relative quiet of the previous scenes and sounds almost threatening (the

outside world is a threat to this mother as she fears it will discover her secret). It

also reminds the audience of the moon and the idea of a creature or sub

human force. The use of a mid-shot allows the viewer to focus on the mother; her body language suggests

she is apprehensive and nervous. Her hesitation before turning to go back into the house indicates she is

scared of something inside. Her hair is tied back and her clothes are plain and dowdy which show us she is

unglamorous. She seems to do all of the work in the house and care for her father.

4. This establishing shot of the house reveals it to be totally isolated, much like

the family.

5. Switches back to a point of view shot and the camera jerkily pans between

two lit windows emphasising feelings of panic and lack of control. The camera

finally settles on the kitchen when the mother appears and the viewer

understands that there is a connection here – the mother has a calming effect

on the bye-child and there is an obvious desire for a closer connection. The

mother seems very distant – in fact in she seems as distant as the moon in the previous shot – and this

seems significant. The voyeuristic gaze unsettles the viewer as it creates a feeling of mystery – at this point

we don’t know who is watching her or whether she is aware of this gaze. However, at the end of this very

long shot, she returns the gaze which further unsettles the viewer as her knowledge is established. The non-

diegetic string instruments are once again used to further this sense of mystery and loneliness.

6. “Daddy, I’ll get your tea in a minute.” – establishes the relationship between

the two. She is pictured performing chores and preparing/cleaning while the

father sits impassively and wordlessly watching the moon landing. The mid-

shot focuses on the TV and the moon landing. The lighting and the focus on

the moon establishes a connection between the father and the source of the

previous point of view shots (later discovered to be the bye-child). Both of

these characters occupy dark spaces in the film. The only light the child sees

is the moon and the father is lit by the television – which is showing images of

the moon. The contrast between the progression of mankind and the

situation of this family is also highlighted.

7. Again, the non-diegetic string instruments establish a bleak mood as the

mother starts to prepare food. The diegetic sound of her chopping is heard

and then, as the shot switches to point of view, the sound disappears thereby

establishing a sense of distance.

8. MacLaverty uses a mid-shot of the woman looking in the mirror in order

to establish her character. She is clearly aware of her appearance and

attempts to make herself look better as if in preparation for seeing

someone. This focus on her outward appearance may be a reflection on her

guilt – she wants to change the way she looks in order to try and appease

the guilt and hatred for herself that exists within. There is a clear sense of

judgement here – she is gazing at herself and it is clear that her guilt weighs

heavily.

9. Diegetic sound of door creaking as she opens in. The mid-close up shows

her wincing at the sound and the cross cutting between the mother and her

father establishes tension – it is clear she is trying to conceal her movements

from him and is fearful of him finding out. It is clear that he is a dominant force

and that she both fears and is hiding something from him.

10. A long shot is used as she walks into the garden. She looks small, vulnerable

and powerless as she is a small figure within the much larger landscape.

However, she is also walking comfortably and it is clear that she has done this

many times before.

11. The close up on the plate once again brings to mind animalistic and less than

human ideas – there is hay surrounding it, it is pushed on to the floor and

eventually a rat is seen crawling over it. It is clear that whoever the food is for is

being poorly cared for and is being kept in terrible conditions. The circular nature

of the plate and then the torch light are also focused on. There is a clear

connection back to the moon at this point and the viewer starts to understand

that the mother is being connected to the external force that has stripped this

child of its childhood and human qualities. The circular nature of both images

perhaps also brings to mind the circular nature of abuse – she has been the

victim of abuse and is continuing its cycle.

12. The diegetic sound of the squealing of the kettle echoes the screams the

chid makes when trying to speak. This is emphasised by the fact that the kettle

gives away the fact the mother is not in the kitchen just as the mother worries

that the child’s screams will one day give away her secret. This tension and fear

of a secret being revealed is emphasised by the cross cutting between the

kettle and the father.

13. This shot introduces the theme of abuse which is a central concern of the

film. The close up camera shot illustrates that this is important to the film. This

shot also tells us why she seemed reluctant to go back into the house following

the delivery of the groceries.

The film then cuts to a mid-angle shot which shows how these two characters

react to one another. The mother turns away from him and has a look of

disgust on her face. She does not object or try to fight him off which indicates

this is a common occurrence that she is passively accepting.

14. The mother is shown burying her head beneath a pillow. The director

uses cross cutting to show the action happening in two different places

at the same time. This helps to establish a connection between the

mother and the child locked in the hen house. The idea here is that the

child literally keeps her awake at night while her guilty secret plays on

her conscience.

Pre Flashback: Daytime Scene

1. The long shot of the three boys instantly sets up a contrast

between them and the family – they are well lit and seem carefree,

which is a contrast to the dark space in the film that the family

occupies.

The shots of the three young boys playing hide and seek are

juxtaposed with reverse angle shots from the bye child’s point of

view. This creates a stark contrast that highlights his poor quality of

life.

The idea of hide and seek is also central to the film as a whole as the

mother is trying to hide her secret. It is ironic that a child’s game

(which her child has been denied) is the eventual cause of the revelation.

2. Shots of the mother preparing clothes for her child demonstrate to

the audience that she genuinely loves the child and is not intending

to be cruel.

Close up of the burning fire reveals connotations of hell and

damnation as we are reminded of her sins. This fire is similar to the

image of Jesus in the bedroom in that it relates to religious imagery.

Christianity teaches love but the mother’s love for the child has

become sinful. The burning of the sleeves is an image which brings

the symbols of love and sin together to represent this idea. The

scenes in the church underline this idea.

3. Close up shot of a partially buried doll (noticed by Paddy, the boy

who will discover the bye-child). The fact that the doll is partially

covered symbolises that the child has been kept hidden, whilst also

foreshadowing the discovery of this child. The vacant and empty eyes

of the doll emphasise to the viewer that the child has no knowledge

of the outside world it reinforces the idea that until this point, nobody

has seen the child but the mother – in the eyes of the world, this child does not exist. This lack of

knowledge and ‘unseen’ status of the child takes away a key aspect of its humanity and, much like

the doll, the child is not seen as fully human due to the poor conditions that it has been kept in.

4. This use of camera makes a link between the two characters.

They see the same close up hazy image of another child and are

both equally shocked. It is clear that neither child fully

understands what they are seeing. However, the secret has been

discovered and it is clear that Paddy is horrified by what he has

seen.

5. The use of a long shot in which Paddy is alone suggests he

bears the burden of this knowledge on his own. His reaction to

the mother’s row contrasts with his two friends who make

mocking gestures and run off. Paddy stops and stares at the

mother for a few seconds, heightening the dramatic tension

between them, before running away.

Flashback

1. The flashback begins with the line “bloody weans”. This relates to the

nuisance of these children playing near her garden but also hints at the

burden she feels in looking after her own child.

The use of the slow fade indicates that time has passed and that we are

jumping to a different time period.

2. This sequence has a sepia tone which also indicates we are in a different

time period. Sepia creates the effect of making this scene look older as if to

represent the fact that this is a memory. The colours on screen also have a

warmer tone which suggests this was a happy period in the mother’s life as

she enjoys looking after her baby. The sound has an echo or reverb effect

which indicates this is a memory or flashback.

The opening shot of the flashback depicts the mother about to breastfeed her baby. She is smiling and

seems content. This presents a contrast between the opening scene and her obvious burden and

unhappiness. When her father warns her to get rid of “that thing” or he will, the change in her character is

marked. It is clear that she fears her father. Calling the child “that thing” is very significant – it reveals his

feelings that the child represents sin and that this is something he wishes to cover up and hide from.

3. In the second scene of the flashback the mother wears white which

suggests this was a more innocent time in her life before she had to conceal

her dark secret. This dress also links in to the shot of the white feather in

the opening of the film – it is clear that she, much like the child, is an

innocent who is a victim of abuse.

4. The father is shown standing over the baby with a hammer in his hand.

The low angle shot makes him look dominating and powerful, revealing that

he is a violent and brutal character.

The use of a high angle shot to look down at the baby is used to underline its

vulnerable position in relation to the father. It is clear that the father is in the

wrong – he views the child as a sin due to it being a product of incest and

being born outside of marriage, yet he is shown to be the sinful one. The

irony of this situation is not lost on the viewer and serves to highlight the

central themes of the film (religion, sin and abuse).

5. As the father moves to smother the baby with a pillow, the mise-en-

scene proves significant. The viewer sees that there is a picture of Jesus

visible over his left shoulder. This relates to the religious theme of the

film. The father is acting as a devout Christian who believes the child

represents sin. The image of Jesus is therefore ironic as it represents the

religious community which motivates his crime.

6. After the mother attacks her father to save her child, the director allows

the diegetic sound of the baby crying to overlap from the previous shot

into the shot of the father lying on the ground. The suggestion here is that

he is now in a childlike state of helplessness. The close up of his face

underlines his inability to speak or communicate his feelings – a central

theme of the film.

7. The flashback ends with a long shot of the mother looking around as if

for help. This use of camera highlights her isolation, powerlessness and

lack of options. The hen house looms in the background and this allows

the audience to understand why the child has been put in there. The

viewer is made to feel sympathy for the mother as she seems vulnerable in

the shot and it is clear that her actions were borne out of love for her child

and fear caused by the abuse she had experienced.

Within this shot mother and baby are framed by the window. This creates a claustrophobic effect which is

appropriate to both characters. They both exist within small spaces in the film due to the abuse suffered.

Post Flashback – The Church

1. She wears her hair down which makes her look more glamorous. Her pink

beret suggests she has briefly escaped the monotony of working in the

house.

The fact that she is late for church highlights her alienation from this

community. She doesn’t really belong there.

2. The mother adopts a prayer position as if asking for forgiveness. The

crucifix in the background (mise-en-scene) reminds us of the strict religious

values which have brought about her situation whilst also reminding the

viewer that the knowledge of her sins weighs heavily on her mind.

She is once again shown in a mid-angle shot but is significantly alone. This

indicates that she is feeling guilty and is looking to God for forgiveness. It is sad that there is nobody in the

community that she can turn to for help.

3. As the priest is speaking about “sin” Paddy turns around and makes eye contact

with the mother. This heightens the dramatic irony in the film as she does not

realise he knows her secret. The audience has already seen him discover the bye

child so this creates tension for the ending as we wonder if Paddy will reveal her

secret. The use of editing highlights the important link between these two

characters.

4. The priest’s sermon: My dear brethren, on television this week we were treated to man cavorting on the

moon again. There is a school of opinion that says that science and religion are opposed, I don’t subscribe to

that. The more science finds out about the universe, the more awe inspiring it is and the more I believe in the

almighty who made it. Man is a wonderful creature. Capable of greatness; capable of great evil. He has the

technology to cross space, land on the surface of the moon. But he cannot stop us committing sin. The million

daily insults in sins of the mind, in sins of the flesh. There is a great book written by an Italian poet, Ariosto,

where he imagines the moon long before we could ever get there. On his moon they treasure what is

despised on earth: unanswered prayers, fruitless tears, they kept wasted talent in a vase labelled with the

person’s name.

This clearly highlights key themes in the film – it is a reminder of the conflicted nature of the mother and the

terrible nature of the crimes committed in her house. It also serves as a reminder of the wasted potential of

the child and the terrible effects of her abuse on her child.

5. The director uses a mid-angle shot to show the priest looking questioningly

at the woman as she walks away. This symbolises the “talking behind her

back” that has taken place at the church. The fact that he is out of focus

suggests she is unaware of his suspicions.

Post Flashback – The Discovery

1. When she hears an engine outside the mother asks “Who could it be?”

This underlines the fact that they are not used to receiving visitors and are

isolated from the community. She has a worried look on her face which

heightens the tension.

2. We once again return to a point of view shot of the mother speaking with

the priest and reacting as he approaches the hen house. The narrow gap

represents things closing in on her secret.

3. Use of a long shot to show the priest entering the hen house allows the

mother to look very small as she crouches down in the background.

4. A high angle shot looks down on the father to demonstrate his

vulnerable position at this point. He attempts to speak but cannot answer

the priest’s question “Who’s responsible for this?” Lack of communication

is a key theme relevant to all of the main characters in the film.

5. MacLaverty uses a slow motion shot when the child is brought out of

the house. This heightens the tension as we anticipate seeing what he

looks like. The importance of the moment is highlighted and the viewer is

left feeling the same shock and sympathy as the priest at the state of the

child. The child is clearly terrified and this unsettles and evokes sympathy

in the viewer.

6. We also see a close up of Paddy reacting in slow motion which emphasises

the impact has on him. This shot slowly zooms in on his face to demonstrate

his shocked reaction as he is wide eyed and open mouthed as if he cannot

believe what he is seeing.

7. The ending is accompanied by the singing of a hymn. This hints at the religious theme in the film and it is

significant that it is the religious figure of the priest who puts an end to the suffering. This perhaps

symbolises the important role of religious teachings in preventing sin and evil.

8. The final shot of the film is the fading moon in the blue sky. This brings to mind the start of the film

and the original symbolism of the moon (lack of humanity) and suggests that for the bye-child, this might

now start to change. The fading moon also suggests a breaking of the cycle of abuse due to this discovery.

Suitable Critical Essay Questions for “Bye-Child”

Answers to questions on film and TV drama should address relevantly the central concern(s)/ theme(s) of the text(s) and be supported by reference to appropriate techniques of film and TV drama such as: key sequence(s), characterisation, conflict, structure, plot, dialogue, editing/montage, sound/soundtrack, aspects of mise-en-scène (such as lighting, colour, use of camera, costume, props . . .), mood, setting, casting, exploitation of genre . . .

2010

17. Choose a film or TV drama* in which a character overcomes apparently insuperable difficulties. Briefly describe these difficulties and go on to discuss how the film or programme makers present the character’s success in a way which you find satisfying. 18. Choose a film or TV drama* in which the opening sequence successfully establishes key features of the text such as setting, mood, genre, character . . . By referring to more than one key feature in the sequence, show how the film or programme makers achieve this success and go on to discuss the importance of the sequence to your appreciation of the text as a whole. 19. Choose a film or TV drama* which portrays a family or group of people with a distinctive set of values. Show how the film or programme makers reveal these values and discuss to what extent these contribute to your understanding of theme. 20. Choose a film or TV drama* which deals with violence but does not glorify it. Discuss the film or programme makers’ exploration of violence, making clear why you consider the treatment to be acceptable.

2011

18. Choose a film or TV drama* containing a sequence you find disturbing or unsettling. Show how the film or programme makers achieve this response and go on to discuss the importance of the sequence to your appreciation of the text as a whole. 19. Choose a film or TV drama* in which setting has a significant influence on mood and theme. Show how the film or programme makers reveal this setting and discuss why it is so influential in terms of mood and theme. 2012 17. Choose a film or TV drama* in which symbolism is an important feature. Show how the film or programme makers create this symbolism and discuss its importance to your understanding of the text as a whole.

18. Choose a film or TV drama* set in a restricted environment such as an island, a ship, a prison, a hospital, a village, a house, a room . . . Show how the film or programme makers’ use of this setting contributes to your understanding of character and theme. 19. Choose a film or TV drama* which explores a social, environmental or moral issue. Briefly explain the issue and go on to show how the film or programme makers explore it in a way you find effective. 2013 18. Choose a film or *TV drama in which a particular atmosphere is an important feature. Show how the film or programme makers create this atmosphere and discuss how it contributes to your appreciation of the text as a whole. 19. Choose a film or *TV drama which explores a crisis in a relationship or the break-up of a family. Discuss how the film or programme makers’ exploration of the crisis or break-up contributes to your understanding of character and/or theme. 20. Choose a film or *TV drama which gains impact from the era in which it is set. Show how the film or programme makers evoke the era and discuss how this setting enhances your appreciation of the text as a whole. 2014 16. Choose a film or *TV drama which presents a mainly bleak vision of life. Show how the film or programme makers convey the bleakness and discuss to what extent you feel the text offers any optimism. 17. Choose a film or *TV drama in which the true nature of a central character is gradually revealed. Show how the film or programme makers present the gradual revelation and discuss how this added to your appreciation of the text. 18. Choose a film or *TV drama which presents an individual or community under threat. Show how the film or programme makers convey this threat and discuss how the way in which the threat is responded to is important to your understanding of the text. 19. Choose from a film a sequence in which a tense mood is created through at least two key filmic techniques such as mise-en-scène, montage, soundtrack . . . Show how the film makers use these techniques to create a tense mood in the sequence and discuss the importance of the sequence to your appreciation of the text as a whole.