FILM 1101 – Essay
Student No.
An essay on mise-en-scene’s importance in understanding the meaning of
James Cameron’s 1986 film:
ALIENS
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“One must compose images as the old masters did their canvases, with the
same preoccupation with effect and expression.” – Marcel Carne
A critical examination of a film will deliver a series of theoretical concepts and
theories through close examination of its technical and narrative composition and
delivery. The dissection of the very elements that combine to make a film, allow one to
gain a deeper understanding of its meaning and quality. The French concept of mise-enscene will be used to examine how James Cameron’s 1986 film ALIENS is more than
just a movie about violence, it’s a film about frailty, humanity and maternal instinct.
Amongst its mesmerising ferocity, unworldly locations and engaging characters
and situations, lay the features by which mise-en-scene can examine the films immersed
significance. Setting, costume/make-up, lighting, staging and its relationship within the
spatial and temporal cinematic sphere are scrutinized with the purpose of discovering the
film maker’s true intentions.
LV-426 is “a hideous, storm-blasted vista”. A bleak, inhospitable planet located
in the deep recesses of space and colonised when Earths resources begin to dwindle. It is
on this remote, isolated planet that ALIENS is set. This planet becomes the perfect
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microcosm in which Cameron can project his philosophical and theoretical questions
about sexuality, humanity and maternity.
Broken up into two distinct locales; the town of ‘Hadley’s Hope’ and the
‘Atmosphere Processor’, LV-426 has been overrun by a contingency of Xenomorphs. By
centralising the actions in these two areas, Cameron is able to provide a catalyst with
which to discover the films themes of frailty, humanity and maternity to be brought into
the narrative, It provides the perfect juxtaposition of harsh alien dominance versus light
and somewhat optimistic human control, as the film is very much also about the power
struggle within the microcosm: power amongst humans.
Had ley’s Hope is a “cluster of bunker like metal and concrete buildings
connected by conduits. It looks like a sodden cross between the Krupps munition works
and a truckstop casino in the Nevada boondocks.” It is here, in the narrow confines of
Weyland Industries headquarters on LV-426 that Ellen Ripley ‘adopts’ Newt, a small
child hiding from the aliens, by living silently and carefully inside an air conditioning
recess. Ripley’s compassion, love and yearning to protect her own is what separates her
existentially from all things ‘alien’, at least until we meet the ‘Queen’.
The complex’s interconnection via tunnels, conduits and passageways is the first
time when human vulnerability is clearly identified. The marines battle experience,
extensive weaponry and sophisticated technology denies them the ability to gain the
upper hand against such a large quantity of raw instinctive power which constitutes the
aliens. Their adaptability to the environment of LV 426 and its humanistic constructions
is the key to their success. A key example is the period of 17 hours between when the
remaining marines, Ripley and Newt barricade themselves inside the Medical Lab when
the lights go out:
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Private Hudson: What do you mean “they cut the power”? How could they cut
the power, man? They’re animals!
“Visible across half a kilometre of barren hearth is the massive atmosphere
processor, looking like a power plant bred with an active volcano.” It is here, directly
under the reactor core that the Aliens have taken up residence. Traversing between
Hadley’s Hope and the processor by a single tunnel, to hunt and bring back as hosts to
boost the species population. When the marines enter the construction in a failed
attempt to rescue other survivors, the setting changes into a distinctly ‘alien’ location.
“Among the refinery like lattice of pipes and conduits something new and not of human
design had been added. It is a structure of some sort, extending from and crudely
imitating the complex plumbing, but made of some strange encrusted substance...
Paralyzed, brought here, entombed in living death as hosts for the embryos growing
within them.” H.R. Giger’s concept work has allowed for Cameron to construct the
perfect Bio Mechanoid environment, the aliens lair is an inescapable tomb designed to
trap unsuspecting visitors. The setting aids in further understanding the horror of the
beast and delve further into the subliminal battle between masculinity and femineity.
The alien is however a bastardisation of the human and symbolises the
incarnation of the purest form of uncontrollable male sexual impulses. Furthermore, “the
aliens monstrosity derives further specificity from the fact that it’s mode of reproduction
is parasitic” (Mulhall 2001) by drawing parallels between the aliens’ and the human mode
of procreation, the critic may come to the conclusion that Cameron’s continuation of the
Alien as a non-communicative, cultureless, parasitic organism is an attempt to discover
the relationship of human identity to body, the nature of sexual difference, and what
logic, if any, operates within the apparently Darwinian universe the alien beings inhabit.
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The final fight scene onboard the ‘Sularco’ when juxtaposed with the marines
intrusion into the Alien’s habitat, is the ideal way to draw attention to the power of
maternity as an instinctual force and how each ‘mother’ will fight to the death protecting
their own. The Queen protecting her eggs by calling off the warriors when Ripley
threatens to flame them, and Ripley protecting Newt by battling the Queen in the
powerloader. An indicative display of Cameron’s continuation of maternity as a key
theme within the film.
Costume and Make-up in the film not only enhance the visual appeal of the
scene, but allow a gateway to examine the psychology behind each character in the film.
The costumes of the characters of Ripley, Newt, Hicks, Vasquez, Hudson when
inspected with detail, reveal much about their personality and type of character.
Ripley’s addition within the marine platoon as a temporary consultant (including
being issued the rank of Lieutenant) dresses in a simple set of plain blue overalls. Whilst
appearing externally feminine, during the progression of the film it evolves into much
more heroic attire. Blood, rips and stains adorn the uniform by the final scene. Sweat
stains and perspiration marks on the T-shirt and arms begin the highlight the previously
unnoticed muscle tone and combine to produce an image of aggression and
determination. A complete transformation from the sterile appearance when she was in
hospital.
The examination of Smart Gunner Private J. Vasquez continues along the same
trait as Ripley. She represents the transformation of traditional masculine specific roles
being taken over by femininity. Her short dark hair, bright red bandanna, toned physique
and large weapon strapped over her shoulder give the appearance of combativeness,
strength and power that are all traits commonly assigned to male characters only.
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Hicks and Hudson, the two male marines with the most screen-time are always
dressed in complete combat fatigues. Sleeveless shirts reveal large muscular arms, and
bulky body armour delivers the illusion of possessing a larger, broader and subsequently
stronger body. Other equipment such as “com sets”, heavy boots and helmets finish the
overtly masculine picture. Communications Technician Hudson in form with his larrikin
style has drawn a pair of white eyes on the rear side of his armour with the intention of
being able to watch his own back. In a sour twist of irony, it’s Hudson who is taken by
alien who emerges from the floor behind him.
The female characters in the film focus the attention in the importance of male
aggression when battling a far superior instinctive masculine enemy. Newt’s distinctly
weak feminine presence highlights this aspect; whilst the marines costume and battle
bloodied make-up continue to promote the need for an outwardly macho appearance.
Lighting is used extensively in ALIENS not only to uphold the tense mood of
fear and anxiety of the unknown, but to illuminate the themes of the film. Filters and
restricted palettes are used extensively to control the range of colours viewed, and
functions as a stylistic tool for Cameron who utilizes the camera to set the atmosphere
and temperament of the scene.
Under-lighting plays an important role in the film by denying the audience a
completely lit frame. For the entire duration of their mission on LV-426, the marines are
constantly denied adequate lighting, thus implying to keep the characters in the dark,
furthering their insecurity. When the red emergency lighting appears amid low-grided
roofs and narrow airshafts, the film delivers a frightening sense of claustrophobia.
Cameron continues to develop the theme of human frailty by exposing them to
situations in which control of their environment is beyond their control.
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Dark blues and greens, grey, black and yellow are the five most predominant
colours used. Yet the warm colour of yellow is used very sparingly, and is instantly
recognised as ‘out of place’ amongst the backdrop of heavier colours.
Staging plays an important role in mise-en-scene. Not only will it dictate how the
scene is viewed by the audience, but the combination of framing, actor movement and
editing combine to draw special meaning, significance and interest to a particular scene.
In the case of ALIENS, staging is used carefully to enhance understanding of the films
action but also heightening and controlling the mood, atmosphere and intensity of the
specified incident.
Staging plays a key part in the scene in which the marines enter the Atmosphere
Processor in an attempt to meet up with the colonists. Careful combinations of angle and
tight facial shots raise the intensity of the piece. Combined with the under-lighting and
restricted colour palette, Cameron’s themes of fear and frailty are brought to the fore
when the disguised Aliens unfurl from the walls and ceiling - perfect camouflage against
their bio-mechanoid background. Following this is a sequence of the marines faces to the
attacking aliens. Hysterical acting is mixed with the tight facial expressions to heighten
anxiety, subsequently highlighting human masculinity failing against the superior species.
Realistic acting to unreal situations propels the film forwards. Sigourney Weaver
(Ellen Ripley), Bill Paxton (Hudson), Lance Henriksen (Bishop), Jenette Goldstein
(Vasquez), Carrie Henn (Newt) and Michael Biehn (Hicks) with a combination of
directing and writing by Cameron create wholesome characters with which the audience
and critic may associate with. Following their progression through the film the audiences
understandings of frailty, humanity and maternal instinct.
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In conclusion, the role of mise-en-scene within a film’s genetic structure is
pertinent to the understanding of a film’s meaning and internal message. Cameron
instigates the filmic elements of setting, costume/make-up, lighting, staging and its
relationship within the spatial and temporal cinematic sphere to establish a greater
understanding towards his film ALIENS. Thus the film’s mise-en-scene is established
and portrayed throughout the film’s duration, from start to finish.
“Mise en scene: How the visual materials are staged, framed, and photographed. The frame’s
aspect ratio: dimensions of the screen’s height and width. Film, TV, video. Functions of the frame:
excluding the irrelevant, pinpointing the particular, symbolizing other enclosures. The symbolic
implications of the geography of the frame: top, bottom, center, and edges. What’s off-frame and why.
How images are structured: composition and design. Where we look first: the dominant. The territorial
imperative: How space can be used to communicate ideas about power. Staging positions vis-à-vis the
camera and what they suggest. How much room for movement: tight and loose framing. Proxemic patterns
and how they define the relationships between people. Camera proxemics and the shots. Open and closed
forms: windows or proscenium- framed images? The fifteen elements of a misc en scene analysis.”
– Louis Giannetti
Word Count: 1,895
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References:
1.
Bordwell, D. & Thompson, K. 2004, Film Art: an introduction (7th ed.),
McGraw Hill, Boston.
2.
Cameron, J. 1985, ALIENS. (script)
3.
Mulhall, S. (2001) On Film, Routledge, London.
4.
Giannetti, L. Understanding Movies (7th ed.), Ease Western Reserve University.
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