Metamorfóza vlivem subjektivního dualismu - Neoformalistická analýza filmu Černá labuť

Bc. Tomáš Samek, DiS.

Bachelor's thesis

Metamorphosis as an influence of subjective dualism - Neoformalist analysis of Black Swan

Anotácia:

Česká anotace Metamorfóza vlivem subjektivního dualismu - Neoformalistická analýza filmu Černá labuť Jako téma své bakalářské diplomové práce jsem si vybral film režírovaný Darrenem Aronofským, Černá labuť. Jedná se o psychologický thriller z prostředí newyorského baletního souboru. Za dominantu tohoto snímku jsem si zvolil hrdinčinu proměnu zapříčiněnou subjektivním dualismem. Tato dominanta se prolíná celým filmem, je hnací silou, která má největší dopad na vývoj charakteru hlavní postavy. Vzhledem k velmi subjektivní formě snímku se hlavně zaměřuji na analýzu mizanscény, žánr a celkovou strukturu syžetu, hlavní model vývoje syžetu, vztah syžetu a fabule, charakteristiku narace z hlediska informačního rozsahu a hloubky. Dále se soustředím na postupy subjektivizace, a to konkrétně na využití zrcadel v prostoru a jejich vedlejší funkce (ryze symbolická), či využívání hlediska první osoby tzv. point of view (POV). Vývoj hlavní postavy, pod vlivem dominanty filmu, je velmi podstatnou složkou této analýzy. Snímek Černá labuť jsem si vybral z několika důvodů. Jedním z těchto aspektů byla režie Darrena Aronofského, která je pro mě velice inspirativní. Tím hlavním důvodem byl ovšem pocit, který ve mně jeho film zanechal po prvním zhlédnutí, nutil mě klást si otázky o nejednotnosti narace, o subjektivizaci, či o dualismu prolínajícím se v různých aspektech filmu. I přes fakt, že se jedná o témata, která nejsou pro masové publikum příliš stravitelná, Černá labuť sklidila úspěchy jak u nás, tak i ve světě. V této bakalářské práci se tedy zaměřuji na následující témata. Velmi podstatnou částí je nejednotnost narace, respektive zařazení do konkrétního typu narace, dle D. Bordwella a jeho knihy – Narace ve fikčním filmu. Černá labuť osciluje mezi narací uměleckou a klasickou, jak se snažím naznačit v naratologické analýze. S tímto aspektem souvisí i otázka subjektivity a dualismu. V našem konkrétním případě se nejedná o oddělené principy, ale spíše o jejich syntézu do jisté formy subjektivního dualismu. Právě toto konkrétní téma je pro mou práci nejzásadnější. Na principu subjektivního dualismu se zakládá celý snímek, jak se pokouším objasnit v analytické části.

Abstract:

English abstract Black Swan – Metamorphosis as an influence of subjective dualism – Neoformalist Film Analysis As a subject for my Bachelor´s dissertation I have focused on a movie directed by Darren Aronofsky, Black Swan. It is a psychological thriller situated around a group of ballet dancers in New York City. Neoformalist analysis is the background for this dissertation as was described by Kristin Thompson in the book Breaking the Glass Armor: Neoformalist Film Analysis. According to her theory there is dominance, which includes the components on every level of the film. As a dominant aspect of this movie I have chosen a transformation of the main character through strong force of subjective dualism. This dominance is identified in all parts of the movie and it also has the most significant impact on the main character change (Nina Sayers – Natali Portman). Because of the subjectivity I aim my analysis on mizanscene, genre, and complete plot structure in its main model of development. I am also focusing on a relation between the plot and story, characterization of information that deepensthe audience’s knowledge. An important part of my work is defining means of subjectivity. In a more specific way the function of mirrors in movie space and it´s secondary function (symbolic). Another possible subjectivity procedure is using takes in a POV style (Point of view). I have chosen this movie for several reasons. One reason is the fact that Darren Aronofsky´s directing style is very inspirational. However the main reason was a feeling that I had right after I saw the movie as it forces me to ask questions about disunity of narration form, about subjectivity and about dualistic principles noticeable throughout the movie. Even though these topics are not as popular as others, the Black Swan receives mainly positive reviews around the world and on our soil as well. Darren Aronofsky came with a new, creative, original and personal movie based on legend of Swan Lake and on Dostoevsky’s novel Double. His aim was to tell a story that will interest audiences at large. According to my analysis there is a definite conclusion. Black Swan works with many motives. From the dominant aspect of the movie we could also consider a changing view of the sexuality of the main character, the change from frigidity to frivolity. But if we closely study the movie segmentation we must come to the conclusion, that this change is caused by the real dominant part and that is the metamorphosis as an influence of subjective dualism. As I mentioned earlier it is noticeable in all parts of the movie. Dance teacher Leroy is putting too many demands on Nina that are supposed to improve her dancing style and in a sense bring her performance to absolute perfection. The instability of the main character is shown through a series of hallucinations and visions that are fueled by the subjective desire of perfectionism or by fear from failing in this particular goal. In this essence we can find the dualism that is part of the movie narrative form and also part of movie style structure. Dualistic concept is presented in a fact that perfection goes hand in hand with destruction or oblivion. In the movie is it presented by way of detailed shots on Nina´s devastated feet – a tormenting cost for a moment of perfection. Audiences then sense the horrors behind the pretty face of ballet. The subjectivity is noticeable for example in the very restricted narration form. All information is presented to the audience through the main character, from what she sees or hears. She is also the only one person that is constantly on the screen. To reinforce the subjectivity Darren Aronofsky uses a special type of camera (Snorricam). It is attached to the actor and takes shots of him or her from the rear or frontal angle. Also for this type of subjectivity Aronofsky uses the POV shots. The idea here is to capture the audience’s thinking to that of the mind of main character

Abstract:

which increases the subjectivity to maximum level. This influence of subjectivity along with the hallucinations creates an effect of confusing the audience, because of these increasing visions of transformation into a different person (Black Swan) thus we do not know what is reality and what is fiction, we are just as confused as Nina. For this change of identities mirrors are very important. They are here as instruments of knowing the other person within Nina, – entering another dimension (a convention well known from fairy tales or horror movies). The personality of the Black Swan takes over control of Nina to perform a perfect performance. Here reenters the dualistic aspect and the moment of absolute precision brings together obliviousness of the main character. Realistically the story of Black Swan is about a ballet dancer who, under lot of stress from her dance teacher, her mother and from the presence of a competitor ballet dancer became a paranoid schizophrenic. This disease of the mind escalates through the entire movie and has deathly consequences. Subjective dualism is then the means of conveying dualistic information through a subjective point of view of the main character. The narrative form is defined by concentrating on Nina, which is the one and only story initiator and presenter of false information. This causes disunity – duality of movie form, which combines classic and artistic aspects. The classic principles (deadline, cause and effect or references to works of classic aura) have a conventional function to provide a simpler understanding of the movie by the audience and the artistic principles (visions, hallucinations or subjectivity are here (in dualistic essence) to confuse the audience, creating a dual final feeling of the movie. The dominant part of Black Swan is, based on the analytical information, metamorphosis of subjective dualism – consistent changes between reality and fiction, between two completely different personalities or between dissimilar narrative forms. The movie is then based on showing dual, transformation of information through an individual subject.

Kľúčové slová

Metamorfóza, subjektivní dualismus, neoformalistická filmová analýza, Černá labuť, Darren Aronofský, zrcadla Metamorphosis, subjective dualism, Neoformalist Film Analysis, Black Swan, mirrors

Jazyk práce: Czech

Datum vytvoření / odevzdání či podání práce: 16. 5. 2012

Obhajoba závěrečné práce

• Obhajoba proběhla 4. 6. 2012
• Vedúci: Mgr. Lukáš Skupa, Ph.D.

Masaryk University

Faculty of Arts

Bachelor programme / odbor:
General Theory and History of Arts and Culture / Film and Audio-Visual Culture Studies