WE NEED TO TALK ABOUT KEVIN - NOTES
WE NEED TO TALK ABOUT KEVIN
- Non Linear narrative
- Two interweaving storylines
- Unreliable narrator
- Two interweaving storylines
- Unreliable narrator
PERFORMENCE
- Both Eva and Franklin's facial expressions are matching
- Non-verbal communication
- Both characters are in anger towards each other
- Crackling voice when upset; Spectator is feeling uneasy
- She is shocked at Franklin as he blames her for not putting the bleach away
- The difference in facial expressions
- Comfort to the other woman - shared experience
- Kevin acts in a 'lying' way
- Eva acts scared of Kevin as she doesn't want to question him
- Kevin acting suspicious however acting as though he does not know what he is doing
- Franklin's distraught facial expressions due to Eva's questioning
- Changes facial expressions whenever he looks as Eva and then to Franklin
- Eva looks away from Kevin when talking to him until she loses her temper
- Only talks to his father
- (All attention is on Kevin - in the middle of frame)
- No eye contact to Kevin
- She constantly averts her gaze - feels threatened by him.
- Slow breaking of lychee.
- He eats the lychee with his mouth open
- He aims the eating towards her - spite
- Kevin spits out the lychee - unreliable narrator - spite
CINEMATOGRAPHY
- Wide shot showing all 3 eating
- Medium close up of each person
- Extreme close up of the lychee in hand and mouth
- Natural lighting
- Oversaturated red
EDITING
- Very long cuts when the camera shows all the family together
- Eva and Franklin sitting in the waiting room - graphic matching to the prison where Franklin is replaced by a Police officer - Metaphor for Franklin trapping Eva's free spirit
- Slow motions when peeling lychee - unreliable narrator - slower the eat; more taunting
SOUND
MISE-EN-SCENE
- Inverted reflection of Kevin - two sided personality
- Emphasis on clean white napkin; shows he cleans up after himself - no guilt for his actions
- Kevin is only with his family throughout
- Spectator feels uncomfortable when Kevin is peeling the lychee - repulsive
- Cold atmosphere in the house - distance between each other
- Pink and yellow are contrasting colours - Franklin and Eva
- Kevin acting suspicious however acting as though he does not know what he is doing
- Franklin's distraught facial expressions due to Eva's questioning
- Changes facial expressions whenever he looks as Eva and then to Franklin
- Eva looks away from Kevin when talking to him until she loses her temper
- Only talks to his father
- (All attention is on Kevin - in the middle of frame)
- No eye contact to Kevin
- She constantly averts her gaze - feels threatened by him.
- Slow breaking of lychee.
- He eats the lychee with his mouth open
- He aims the eating towards her - spite
- Kevin spits out the lychee - unreliable narrator - spite
CINEMATOGRAPHY
- Wide shot showing all 3 eating
- Medium close up of each person
- Extreme close up of the lychee in hand and mouth
- Natural lighting
- Oversaturated red
EDITING
- Very long cuts when the camera shows all the family together
- Eva and Franklin sitting in the waiting room - graphic matching to the prison where Franklin is replaced by a Police officer - Metaphor for Franklin trapping Eva's free spirit
- Slow motions when peeling lychee - unreliable narrator - slower the eat; more taunting
SOUND
MISE-EN-SCENE
- Inverted reflection of Kevin - two sided personality
- Emphasis on clean white napkin; shows he cleans up after himself - no guilt for his actions
- Kevin is only with his family throughout
- Spectator feels uncomfortable when Kevin is peeling the lychee - repulsive
- Cold atmosphere in the house - distance between each other
- Pink and yellow are contrasting colours - Franklin and Eva
How useful has an ideological critical approach been in understanding binary oppositions in the narratives of your chosen films.
During the scene where Eva accuses Kevin of blinding an eye of Celia whilst he eats a lychee, we can see clearly how both characters are presented through binary oppositions of good vs evil. Through the unreliable narrator, we see how the protagonist Eva is up against the antagonist Kevin via the use of the worried and distressed facial expressions on Eva's face as she feels threatened by the 'monster' on her right. In the framing of the shot showing the family, we see the proxemics between each character and how Eva is very far from both Franklin and Kevin as she wants to align herself away from the bad things in her life. Furthermore, when speaking to Kevin, Eva never maintains eye contact with him as she believes him to be the enemy and she will feel threatened and submissive if they were to lock in eye contact. Eva clearly presents herself as an unwilling mother to the spectator as she is very hesitant to confront Kevin about the action he has committed. In addition, this will help the spectator to understand how she wants no responsibility for him and blames him for her parenting.
How has an ideological critical approach given you a deeper understanding of binary opposites in the narratives of your chosen films?
POINT
EXAMPLE
ANALYSIS WITH BINARY OPPOSITES
FEMINISM
SPECTATOR RESPONSE
In the scene in which Eva tries to bond with the infant Kevin by rolling a ball to him, we see Kevin
and Eva presented through binary oppositions of mother vs child. Both characters are mirrored in
the way they are sitting. Initially, they are positioned in a medium close-up over the shoulder
shot/reverse shot before a cutaway reveals them to be in medium shot in opposing stances. Kevin
‘taunts’ Eva by copying her facial expressions and actions. In terms of mise-en-scene, the apartment
is decorated neutrally, with African face masks hanging on the walls, presumably from Eva’s travels
and therefore representative of her personality. This mirroring and opposition suggests not only that
of mother vs child but also maternal vs freedom. There is a strong sense through the film that by
conceiving Kevin, Eva has essentially lost her liberty; she is an unwilling mother. The shot reverse
shot makes both characters seem intimate, but the cutaway shot reinforces the idea of
separateness; the idea that Eva is only there out of necessity. From a feminist ideological approach,
Eva exists in a patriarchal society whereby the woman’s role is to stay at home and care for her child
- even though professionally, she is more successful than Franklin. Previously, she has gone against
the patriarchal ideals by being the main breadwinner; however, now she is confined to the house
and raising a child she never wanted. Aside from suffering from post-natal depression, she seems to
have had Kevin only because society deemed it necessary. In terms of spectator response, we are
encouraged to align with Eva because it’s her story. Therefore, due to being an unreliable narrator,
she represents Kevin as innately emotionless and predestined to become a killer. However, an active
spectator might take issue with this and find that the fault lies with her.
Eva’s conflict with Kevin’s development continues into his adolescence and this is apparent in the
scene where she invites him to miniature golf. This idea is demonstrated through the mise-en-scene,
specifically through costume, colour palette and framing. Kevin is wearing a blue T-shirt and a red
jacket whilst Eva is wearing a purple jumper. These colours are monochromatic with blue and red
combining to make purple, emphasising that, regardless of how much Eva resists it, she and Kevin
are similar. This is also implied via the framing with each of them occupying opposing sides of the
frame – Kevin right and Eva left, which effectively places them next to each other. Binary oppositions are also represented in this scene; specifically, mother vs child. It seems as though Eva wants to gain a connection to Kevin and does this by mocking a traditional ‘day out’. On one hand Kevin is reluctant to spend time with Eva, which is evidenced via his confused facial expression, but on the other hand, Kevin might have felt as though he wants to fill the void between them and in doing so, would help the spectator to see how they are very similar. Ramsay suggests that Eva is forced by society to have a closer bond with her son due to her being considered as the main parent for the child.
The golf scene establishes Eva as a character who leans towards the nature side of a nature vs
nurture binary opposition. Meanwhile, Kevin leans more towards the nurture debate. As they queue
for miniature golf they stand next to each other in medium close-up. Through the use of mirroring it
is apparent how similar Kevin and Eva really are. This sets up the binary opposition of mother vs
child in motion. This is also evident through the contrasting costume used; Eva wears dark clothing
as though it is winter; however, Kevin wears a juxtaposing lighter colour; white, which you would
typically see in summer. This emphasises the idea to the spectator that, however similar they may
seem, there would always be a barrier stuck between them as both characters contain different
views and ideals which are destructive if combined. In oedipal terms, Kevin is looking for the love
and affection from his mother that he lacked as a child. One could perceive his antagonistic
behaviour towards Eva as a cry for help due to the fact that she has neglected him, failing to fulfil the
stereotypical maternal role. Ordinarily, the oedipal male child, having been nurtured principally by
the mother, must find a way to become societally balanced; he must move away from his mother
and find a suitable mate as a replacement. However, as Kevin has been deprived of love, he instead
attempts to draw his mother close to him. In terms of mise-en-scene, it’s notable that at the start of
this scene the weather is sunny. However, by its close, after they finish playing golf, they are caught
in a torrential downpour. Active spectators might question this. It must be remembered that this is
Eva’s narrative. She is telling the story as she recollects it. The spectator would view Eva as an
unreliable narrator as she may be retelling this story in her own way; presenting a more biased
recount of her life. As Eva’s experience may contain lies, the binary opposition of truth vs fiction is
mainly presented internally for Eva as she wants everyone to see how she is the victim in this story.
She believes the way that Kevin is, is due to his nature and not nurture.
FINAL SCENE
- Contrapuntal sound
- Walking to freedom
- Constant eye contact
- Proxemics, Kevin moves slightly closer to Eva so that she knows that he wants affection.
- Kevin has shocked facial expressions when Eva gives him affection, as he knows now that they have gotten closer by this act.
At the end of the film there is a reconciliation between Eva and Kevin in which they both hug and settle their disputes. Kevin longs for his mothers affection and filling that void will help this reconciliation. In oedipal terms, Kevin kills Franklin in order to get closer to his mother and in doing so he manages to receive his mothers love, and therefore succeeding his goal. The contrapuntal sound in the background complements the dark atmosphere in the room as this mirrors Eva's feelings towards Kevin; she loves him but despises him for what he has done. This is mainly expressed through her facial expressions. The proxemics between them is filled at the end via Kevin's need for affection; he moves slightly closer to Eva in order for her to give him a hug. Ramsay wants to show the spectator how the reconciliation between Eva and Kevin is mainly due to how Kevin kills anything that blocks him from mother's affection. Throughout the film, Eva resents Kevin and does not get close to him as she is forced into motherhood. She then finally follows the society norms as she now takes the role of the 'mother' and cares for her son.
How has an ideological critical approach given you a deeper understanding of binary opposites in the narratives of your chosen films?
POINT
EXAMPLE
ANALYSIS WITH BINARY OPPOSITES
FEMINISM
SPECTATOR RESPONSE
In the scene in which Eva tries to bond with the infant Kevin by rolling a ball to him, we see Kevin
and Eva presented through binary oppositions of mother vs child. Both characters are mirrored in
the way they are sitting. Initially, they are positioned in a medium close-up over the shoulder
shot/reverse shot before a cutaway reveals them to be in medium shot in opposing stances. Kevin
‘taunts’ Eva by copying her facial expressions and actions. In terms of mise-en-scene, the apartment
is decorated neutrally, with African face masks hanging on the walls, presumably from Eva’s travels
and therefore representative of her personality. This mirroring and opposition suggests not only that
of mother vs child but also maternal vs freedom. There is a strong sense through the film that by
conceiving Kevin, Eva has essentially lost her liberty; she is an unwilling mother. The shot reverse
shot makes both characters seem intimate, but the cutaway shot reinforces the idea of
separateness; the idea that Eva is only there out of necessity. From a feminist ideological approach,
Eva exists in a patriarchal society whereby the woman’s role is to stay at home and care for her child
- even though professionally, she is more successful than Franklin. Previously, she has gone against
the patriarchal ideals by being the main breadwinner; however, now she is confined to the house
and raising a child she never wanted. Aside from suffering from post-natal depression, she seems to
have had Kevin only because society deemed it necessary. In terms of spectator response, we are
encouraged to align with Eva because it’s her story. Therefore, due to being an unreliable narrator,
she represents Kevin as innately emotionless and predestined to become a killer. However, an active
spectator might take issue with this and find that the fault lies with her.
Eva’s conflict with Kevin’s development continues into his adolescence and this is apparent in the
scene where she invites him to miniature golf. This idea is demonstrated through the mise-en-scene,
specifically through costume, colour palette and framing. Kevin is wearing a blue T-shirt and a red
jacket whilst Eva is wearing a purple jumper. These colours are monochromatic with blue and red
combining to make purple, emphasising that, regardless of how much Eva resists it, she and Kevin
are similar. This is also implied via the framing with each of them occupying opposing sides of the
frame – Kevin right and Eva left, which effectively places them next to each other. Binary oppositions are also represented in this scene; specifically, mother vs child. It seems as though Eva wants to gain a connection to Kevin and does this by mocking a traditional ‘day out’. On one hand Kevin is reluctant to spend time with Eva, which is evidenced via his confused facial expression, but on the other hand, Kevin might have felt as though he wants to fill the void between them and in doing so, would help the spectator to see how they are very similar. Ramsay suggests that Eva is forced by society to have a closer bond with her son due to her being considered as the main parent for the child.
The golf scene establishes Eva as a character who leans towards the nature side of a nature vs
nurture binary opposition. Meanwhile, Kevin leans more towards the nurture debate. As they queue
for miniature golf they stand next to each other in medium close-up. Through the use of mirroring it
is apparent how similar Kevin and Eva really are. This sets up the binary opposition of mother vs
child in motion. This is also evident through the contrasting costume used; Eva wears dark clothing
as though it is winter; however, Kevin wears a juxtaposing lighter colour; white, which you would
typically see in summer. This emphasises the idea to the spectator that, however similar they may
seem, there would always be a barrier stuck between them as both characters contain different
views and ideals which are destructive if combined. In oedipal terms, Kevin is looking for the love
and affection from his mother that he lacked as a child. One could perceive his antagonistic
behaviour towards Eva as a cry for help due to the fact that she has neglected him, failing to fulfil the
stereotypical maternal role. Ordinarily, the oedipal male child, having been nurtured principally by
the mother, must find a way to become societally balanced; he must move away from his mother
and find a suitable mate as a replacement. However, as Kevin has been deprived of love, he instead
attempts to draw his mother close to him. In terms of mise-en-scene, it’s notable that at the start of
this scene the weather is sunny. However, by its close, after they finish playing golf, they are caught
in a torrential downpour. Active spectators might question this. It must be remembered that this is
Eva’s narrative. She is telling the story as she recollects it. The spectator would view Eva as an
unreliable narrator as she may be retelling this story in her own way; presenting a more biased
recount of her life. As Eva’s experience may contain lies, the binary opposition of truth vs fiction is
mainly presented internally for Eva as she wants everyone to see how she is the victim in this story.
She believes the way that Kevin is, is due to his nature and not nurture.
FINAL SCENE
- Contrapuntal sound
- Walking to freedom
- Constant eye contact
- Proxemics, Kevin moves slightly closer to Eva so that she knows that he wants affection.
- Kevin has shocked facial expressions when Eva gives him affection, as he knows now that they have gotten closer by this act.
At the end of the film there is a reconciliation between Eva and Kevin in which they both hug and settle their disputes. Kevin longs for his mothers affection and filling that void will help this reconciliation. In oedipal terms, Kevin kills Franklin in order to get closer to his mother and in doing so he manages to receive his mothers love, and therefore succeeding his goal. The contrapuntal sound in the background complements the dark atmosphere in the room as this mirrors Eva's feelings towards Kevin; she loves him but despises him for what he has done. This is mainly expressed through her facial expressions. The proxemics between them is filled at the end via Kevin's need for affection; he moves slightly closer to Eva in order for her to give him a hug. Ramsay wants to show the spectator how the reconciliation between Eva and Kevin is mainly due to how Kevin kills anything that blocks him from mother's affection. Throughout the film, Eva resents Kevin and does not get close to him as she is forced into motherhood. She then finally follows the society norms as she now takes the role of the 'mother' and cares for her son.
Notes on Kevin are all good.
ReplyDeleteLychee scene:
"Eva is very far from both Franklin and Kevin as she wants to align herself away from the bad things in her life." - would you necessarily say that Franklin is a 'bad thing' in her life? She seems to love him.
Overall, this feels a little underdeveloped. There's definitely more to analyse here. You touch on the framing, but don't go into too much detail (the use of symmetry, for example, and the mirroring of Kevin and Eva). You could also expand your analysis by discussing the actual moment of the lychee eating - the use of XCU, the lychee juice squirting, the fact that Eva 'remembers' him spitting it out even though she wasn't in the room at the time.