UCL

SCHOOL OF EUROPEAN LANGUAGES,

CULTURE AND SOCIETY (SELCS)

SELCS Coursework Coversheet

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Module code and title: ELCS0036: Topics in Film I

Title of coursework: Microanalysis: Set A – The Innocents

Actual word count: 926

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The first still is taken during the tower sequence in Bly Garden (31:45). This medium, chest-
up shot of Miss Giddens, surrounded by white roses and nature, highlighting an important motif
within the film. The abundance of wildlife, stretching from the foreground through to the
background in deep focus, coupled with the lack of symmetry create the compositional stress
that contributes to a feeling of unease, heightening the tension as the audience is left to select
where they look. Due to Miss Giddens being framed slightly off-centre (according to the Rule
of Thirds) the audience is naturally drawn to focus on her, and in particular her expression. Her
eyeline is fixed on an unknown object off screen, continuing to build anticipation of the
sequence. The graphic blocking lingering on Miss Giddens amongst supposedly sweet and
beautiful white roses – linked to innocence and purity – but due to the stress of the frame
becomes distorted to reflect the “fallen world of Bly, the decadent, evil, dying world of
corruption” [Palmer, 1977, p.206]. Roses, themselves, may seem sweet and beautiful – yet –
they have thorns. This relates to the scenario Miss Giddens finds herself in: on the outside Bly
seems to be “A Heaven”, when in reality she is surrounded by danger. As the shot is taken from
a slight high angle – just above Giddens’ eyeline – there is a subtle manipulation to make
Giddens appear inferior and out of her depth. In the ensuing tower sequence, this high angle
shots develops fully when she sees Peter Quint on the tower, to signify the lack of control
Giddens has over these supernatural occurrences. Clayton surrounds Giddens with nature, as
though trapping her, and dominating the shot to showcase that this environment is not as
inviting as it may appear. However, the high key lighting specifically on Giddens, emphasises
her white dress and the naivety of her character. As Miss Giddens uncovers more, and the
morality of the story become more complex, Miss Giddens’ attire pivots away from the
innocent Governess to a more serious, head-strong form of Garment (as seen when she
confronts Miles, 1:46:06). Miss Giddens’ clothing matches that of Roses – she may appear to
be innocent, yet there is something more sinister lurking beneath her. Alternatively, some could
interpret her as a sincere figure (Palmer, 1977, p.210). Although the mise-en-scene is in
abundance, the lack of props assists in focusing on the two key points of the frame: the shocked
Miss Giddens and the Rose bush. Nothing pulls focus from either. The simplicity of the shot
gives space to simultaneously analyse the visual metaphors and build anticipation for the reveal
of the statuette (32:00).

The second still is captured during the climax of the film (1:50:25), where Miss Giddens
interrogates Miles about his vulgar and violent nature. It is a medium close-up with shallow
focus being on Miles (‘The Innocents’ – Palmer, 1977, p.206) in the foreground – however –
Peter Quint is out of focus in the background. The social blocking between the characters
reinforces the sense of ambiguity about Miles’ behaviour. Despite it being a straight on shot,
with Miles staring down the lens, Peter’s eyeline instead is angled down at Miles creating a
visual link between each character’s thoughts. As Quint is physically blocked behind the
frosted windows, it makes Miles appear as an unwitting pawn of implicit control by Quint. The
diagonal shot composition, however, eschews such a specific interpretation of events. The
frame is diagonally split fairly evenly between Miles/Peter – further linking the characters to
the deeper themes of the film. Peter is physically imposing due to his height in juxtaposition to
Miles – hinting that Miles’ behaviour stems from external influence – representing nurture.
When we are introduced to Miles at the train station (25:26), he wears a light-coloured suit in
contrast to the black suit in this frame, visually signifying the potential corruption and change
he has experienced by Peter. Whereas, the mise-en-scene in Miles’ half (in particular the set in
the mid-ground of over sprawling vines/plant life) represent the opposite side of the debate,
nature. These techniques help to further the complexity of the ambiguity about whether Miles’
actions are his own or whether he is being possessed by a malign presence. Freddie Francis’
(Director of Photography) uses side lighting to create chiaroscuro to further portray the internal
conflict within Miles’ character – is he an innocent (the light), or has he been corrupted entirely
by Peter (the darkness) – helps to build dramatic tension in this moment of climax. This style
of lighting links to Gothic horror’s roots within German Expressionism, with the use of
lighting/shadows to convey a character’s emotional state. However, the character in question
is in fact the Governess as this shot is from her point of view. Quint’s blurred outline creates
the ethereal/other worldly quality of the character. This is supported by the use of high key
lighting to achieve: One, a sense of significance about the subject, and two, to develop the idea
that he is either a projection of the Governess’ neurotic psyche or that he is indeed a coercive
spirit. This is definitely a key frame as it is the collision between the A and B thematic plots of
the film, has Miss Giddens been projecting the images of Peter Quint, which consequently
impacts how we view Miles’ nature, finally provoking the film’s titular question: who really
are ‘The Innocents’?

Bibliography:
Palmer. J (1977) “Cinematic Ambiguity: James’s The Turn of the Screw and Clayton’s The
Innocents”, Literature/Film Quarterly, 5.3, pp. 198 – 215.

Filmography:
The Innocents, Jack CLAYTON, 20th Century Fox, 1961.