We Are the Best!

We Are the Best! is a heart-warming coming of age story.   The three main characters undergo personal growth when they embrace their differences and disregard other people’s negative perceptions of them.  We can see this when they perform at Västerås.  Their unreserved attitudes and retaliation against hecklers causes a riot, and we see their transformation in confidence and self-respect.

The editing in this scene is very fast paced, allowing us to gain a "sense of their aspirations, impatience, energy and their emotions" (Jutel, "Week 5 editing").  It allows us to understand their excitement at being able to be themselves, and the intensity of the moment in which they are completely ignoring what society says about them, a moment which is extremely significant in their development.

The cinematography also adds to the sense of transformation.  The scene is filmed using a hand held camera which "involves the audience more immediately and concretely in the action" (Corrigan and White 118).  Thus involvement allows us to experience the scene as if we were there, providing us with a sense of the immediacy of the moment,  It gives us a more personal perspective on the scene; we feel as if we are in the crowd (see fig. 1), and can therefore appreciate the extent of the backlash against the girls.  This further emphasises their confidence and self-belief, as we can see their perseverance and commitment to the band, to each other and to themselves, even in the midst of the rioting.

Fig. 1; We see the girls from the audience's perspective; still taken from We Are the Best!

The mise-en-scène in this scene also helps to show us their transformation, which we can see through their physical relationship to the other people in the room (see fig.2).  The fact that they are above the crowd gives the impression of power and confidence; they cannot be touched or assaulted physically, nor can they be affected emotionally.  The have distanced themselves from those who do not understand them and this is represented in this scene.

Fig. 2.; The girls distance from the crowd mimics their emotional distance; still taken from We Are the Best!

The performance of the actors also adds to the idea of their transformation in confidence.  All three of them stand (or in Bobo’s case sit) tall.  Their body language shows their growth in self-assurance.  Hedvig in particular can be seen as making a significant transformation in this scene.  A key moment in which we can see this is when she pokes her tongue out at an unruly audience member.  For her to go from a shy, lonely Christian girl who did not talk to anyone and always kept her head down, to someone who will give attitude back to a bully demonstrates an immense transformation in her character.

The contrast of this scene with earlier ones in the movie demonstrates their transformation.  They are no longer submissive or politely accepting of the criticism launched at them, but brave, outspoken and confident.  The elements of film form used to portray this transformation allows the viewer to gain a much better understanding of the characters, and to experience their coming of age alongside them.

Works cited

Corrigan, Timothy and Patricia White.  The Film Experience: An introduction. 3^rd ed. Boston: Bedford/St. Martin’s, 2012. Print.

We are the Best! Dir. Lukas Moodysson. Film i Väst; Memfis Film. 2014. Film.

Jutel, Thierry. “Week 5 editing”. Victoria University of Wellington, New Zealand. 31 March 2015. Lecture.

Whale Rider

Whale Rider is an exceptionally powerful film in which the main character, Paikea Apirana, undoubtedly attains prominence and respectability.  She does this through the fulfilment of her destiny; by becoming the person she knows she is meant to be.

The scene in which her transformation comes about is when she encourages a beached whale back into the sea, riding it as her ancestor did (see fig. 1).

Fig.1; Paikea climbs onto the whale and rides it into the sea; still taken from Whale Rider

The non-diegetic sound used in this scene is extremely important to our understanding of her transformation (see fig 2).  

Fig.2; The music used in the whale riding scene; "12. Paikea's Whale-Whale Rider soundtrack"; 21 August 2011; YouTube; Web video; 28 April 2015

As she approaches the whale the music is low and drone like, evoking a sense of tension and suspense.  This is juxtaposed against her complete calmness, allowing us to see and feel as if she knows exactly what she is doing, she is where she belongs.  As the music progresses we hear long, wailing notes, reminiscent of whale song.  This allows us to fully appreciate the atmosphere, to “experience the movie as immediate and enveloping” (Corrigan and White 196). It also reinforces the idea of Pai’s connection with the whales, as we are seeing her as we ‘hear’ them (see fig 3).

Fig. 3; We see Pai's connection with the whales as we hear the whale-like music; still taken from Whale Rider

The diegetic sound also highlights the sense of Pai belonging with the whales.  This is primarily seen through the juxtaposition of her underwater and the sounds on the beach.  As she goes underwater with the whale, virtually all sound dies out, bar the subtle, dulled sound of being beneath the sea.  This is contrasted with the shouting, wailing and persistent breaking of waves on land to show Pai’s serenity under the water, her utter peacefulness and tranquility (see fig. 4).  This reinforces the idea of her belonging with the whales, and by being with them she is becoming the person she knows that she truly is.

Fig. 4; Pai's serenity under the water contrasts with the despondence on land; stills taken from Whale Rider.

The cinematography in this scene also allows us to see Pai transforming into her true self, particularly the use of slow motion.  This dramatizes the sequence, allowing us to see its significance, and through this we are able to appreciate the magnitude of the moment and of Pai’s transformation.

Another effective element of cinematography used is the overhead shot of Pai going under the water, riding the whale.  This is an extremely effective shot, as we see her entering the whale’s world, becoming one with it and in doing so fulfilling her destiny.  The overhead shot allows us to take a God-like perspective, suggesting that we are looking down on her from the point of view of her ancestor Paikea, thereby reinforcing the idea of her fulfilling her destiny.      

Through these elements we can easily see Paikea’s transformation into the person she knows she is meant to be.  It is undeniable that this is an extremely powerful and poignant coming of age moment.

Works Cited

Whale Rider. Dir. Niki Caro.  South Pacific Pictures, 2002. Film

Corrigan, Timothy and Patricia White.  The Film Experience: An introduction. 3^rd ed. Boston: Bedford/St. Martin’s, 2012. Print.

Dead Poets Society

 In Dead Poets Society, many of the characters undergo a great deal of personal growth.  The film deals with the students' struggle to break from authority, and when they finally do this in the final scene it is a powerful coming of age moment (see fig. 1).

Fig 1. The final scene from Dead Poets Society; "Dead Poets Society ending clips"; 8 April 2013; YouTube; Web video; 21 April 2015

The students defy their principal by standing up-literally-for what they believe is right.  After a film full of submission, this certainly is a transformative moment, and shows their growth in maturity and courage.

The cinematography in this sequence emphasises the boys stepping away from compliance.  An important repeated shot is the close up of their feet as they stand on the desks.  This is reminiscent of an earlier scene, in which Mr Keating uses his unorthodox teaching methods to make the boys see the world from a different perspective (see fig. 2).

Fig.2. Mr Keating teaches the students to gain a new perspective on life; "Dead Poets Society-New View!"; 13 April 2011; YouTube; Web video; 21 April 2015

 Far from the reluctance and indifference displayed in this scene, the final one shows their newfound appreciation for his message and the maturity they have gained.  The emphasis on the feet highlights their physical act of stepping away from the overbearing authority which controls their lives, and in doing this becoming independent. Subjective shots are also used to great effect in this sequence, and are used to “re-create the perspective of a character” (Corrigan and white 112), particularly Mr Keating’s perspective of the boys.  Due to his position we see his point of view through a low angle shot, emphasising the newfound confidence and power of the boys (see fig. 3).

Fig. 3; Mr Keating's perspective of the boys as they stand on their desks; still taken from Dead Poets Society

 The final shot of the film shows Todd standing atop his desk, framed by the legs of another boy (see fig. 4).

Fig. 4; The final shot of the film; still taken from Dead Poets Society

This 15 second, static shot shows the immense transformation of the boy who was previously the meekest, the most submissive.  His transformation is arguably the greatest of all, and the lasting impression we have of him accentuates this.

The sound used in this scene is exceptionally powerful.  The first half of the scene is silent, apart from the dialogue.  This creates a tense, awkward environment, highlighting the boys discomfort and creating some in the audience as well.  This changes, however, when Todd, followed by the others, begin to stand.  Non-diegetic music begins playing-softly at first and building up as more boys join in (see fig. 5).

Fig. 5; the piece of music used in the final scene; "Maurice Jarre- Keating's Triumph"; 17 September 2008; YouTube; Web video; 21 April 2015

The triumphant music contributes to the idea of coming of age and “deepens [our] emotional response” to it (Corrigan and White 195).  We can see that finally they have a victory, they are defying their superiors and doing what they know is right.  Even if it is a small victory, they are proud of what they are doing, causing the audience to feel pride as well.

This film is undoubtedly a superb coming of age story.  The transformation of the boys, especially in this scene, is remarkable, and the elements of film form discussed make it all the more so.

Works cited

Corrigan, Timothy and Patricia White.  The Film Experience: An introduction. 3^rd ed. Boston: Bedford/St. Martin’s, 2012. Print.

Dead Poets Society. Dir. Peter Weir. Touchstone Pictures, 1989. Film.

The Breakfast Club

TThe Breakfast Club is one of the 80’s most treasured movies, in which the characters come of age by gaining the maturity to look beyond stereotypes.  Initially they have nothing in common, which is painfully obvious due to the awkwardness and distance between them.  By the end of the film, however, they have grown to appreciate that they are more similar than they thought, and have overcome the stereotypes that previously defined them.

The most significant transformation occurs in the scene in which the five teenagers are having a discussion which quickly becomes serious, prompting each of them to confess personal details of their lives.

The aspects of film form allow us to see their changing perceptions of each other and their overcoming of the stereotypes that previously defined them.     

The cinematography and editing in this scene allows us to focus on the emotions of the characters.  The initial establishing shot shows the group sitting together, framed by the walls of the library (see fig 1).

Fig. 1. 'The Breakfast Club' sit in the library discussing their secrets; still taken from The Breakfast Club

The fact that they are all grouped together in a small space, with the entire expanse of the library visible behind them, illustrates their desire to spend time together, to get to know each other.

 Throughout the scene, close ups and medium close ups are used, “indicating nuances of the characters feelings or thoughts” (Corrigan and White 109), as can be seen when Andrew is confessing his hatred for his father (see fig 2).

Fig. 2. Andrew confesses his hatred for his father; "The Breakfast Club (1985) - Andrew Clark about his father"; 6 Sep. 2012; YouTube; Web video; 20 April 2015.

 We initially see a medium close up of his face, and the camera gradually tracks around to his other side, maintaining the same distance from his face the whole time.  This very long take allows us to see the full range of emotions he is going through, and to focus on nothing but him.  As he comes to the end of his speech, successive cuts to each of the others convey their reactions; their tears and covered faces portray not pity but empathy, and their guilt from having categorised him like all of the others.

The Mise-en-scène in this scene also contributes to the depiction of the teenagers’ changing attitudes.  The costumes and make up worn by each actor are representative of the ‘group’ they belong to (see fig 3).

Fig. 3.  This still taken from The Breakfast Club shows how the costumes reflect the characters.

 A description of their costumes can be seen on this fashion blog. 

This costuming contrasts with other elements of mise-en-scène to show the development of their perceptions.  Although their outfits separate them into their stereotypical groups, the social blocking “accentuate[s] relations between them” (Corrigan and White 76) indicating their closeness-throughout the whole scene they are in one group, even though their clothing does not reflect it, and they remain this way.  This suggests a desire to get to know the others, and to truly understand them.  The Naturalistic acting performance shows the actors “fully and naturally [embodying their roles] in order to communicate that characters essential self” (Corrigan and White 75). This also contributes to the sense of closeness, as we can see the emotions in their eyes, indicating their connection to the others and their realisation that they are not that different-and that none of them are as carefree as they have made out.

These elements of film form successfully come together to illustrate each character’s transformation in this scene.  In seeing this, it is impossible to deny that The Breakfast Club is a prime example of a coming of age film.

Works Cited
Corrigan, Timothy and Patricia White.  The Film Experience: An introduction. 3^rd ed. Boston: Bedford/St. Martin’s, 2012. Print.


Ernst, Katrina. “Cinemode: The Uniforms of The Breakfast Club”. On This Day in Fashion.  15 Feb 2011.  Web. 18 April 2015. <http://onthisdayinfashion.com/?p=11203>


The Breakfast Club.  Dir. John Hughes. A&M films; Channel Productions, 1985. Film.