Cinematography and Sound in The Avengers

How do cinematography and sound create meaning and generate response in the ‘Subjugation’ sequence in The Avengers?

Be sure to only watch the first half! Part 2 will come later.

 

Joss Whedon’s superhero sci-fi blockbuster The Avengers (May, 2012), distributed by Marvel Studios, uses micro-elements such as a variety of cinematography techniques and diegetic and non-diegetic sound in the ‘Subjugation’ sequence to generate the required response from the sinister feel of the sequence from the spectator. This five minute sequence, which occurs roughly 45 minutes in, shows Loki (Tom Hiddleston) as he reveals his plans for world domination and human subjugation before he surrenders to Captain America (Chris Evans), Iron Man (Robert Downey Jr.) and Black Widow (Scarlett Johansson).

 

The sequence begins with an establishing shot of the location of the gala which makes it obvious where the action is going to take place. The shot is accompanied by non-diegetic orchestral ambient sound to create a regal, relaxed atmosphere. However, the tone of the music is slightly disquieting and almost too calm which suggests this is the ‘calm before the storm’ and subtly warns the spectator that something is about to happen. It is followed immediately by a reverse zoom that reveals the source of the music and the non-diegetic sound is suddenly made diegetic. The music continues, subtly getting higher and higher in pitch to build up to the inevitable oncoming action, and a series of small panning shots are used to show the number of people there, although the amount of noise the people are making is oddly disproportionate to their numbers. Any noise from the attendants of the gala is muffled and no distinct words can be made out. This shows that they are still blissfully unaware of the danger that the spectator knows lurks nearby and makes it seem like their opinions are unimportant and will not be able make their voices heard once the action has passed.

The sequence is linked together using close-ups of the violin strings as the music is currently the most important aspect of the sequence so far. It creates a bridge as the sequence transitions to a new location. A subjective shot is used to show a man walking into a room and a tracking shot is used to follow him in. However, when the man moves to the left of the camera and the stars-and-stripes of the uniform is revealed it becomes clear that this man is Captain America, and will be directly involved in the impending action.

The now non-diegetic sound of the violins continues as the sequence yet again transitions to a different location to a two shot of a pair of guards standing on watch. The quick selective sounds of the arrows hitting their targets give the action finality and a series of cinematographic techniques comprising of: a close-up; a pan; a zoom; and a high shot are used one after another to emphasise the guard’s confusion as to where the arrow came from. The first guard to be hit by an arrow was off camera at the time and the second, although aware of the archer’s presence, was unprepared for his arrow. It is clear, from this, that the archer is a highly skilled assassin and has had much experience in this field from the cool and collected manner he released his arrows and how effectively he killed the guards from such a long distance. Even though this is the first bit of action in the sequence the continuation of the contrapuntal music suggests that this is not the action it has been building up to.

 

The soft, relaxing tone of the music contrasts sharply with the violence of the action and, after, the shot tracking the movements of the plane. The music makes these shots seem less dramatic than it should be which makes it clear to the spectator that the worst of the danger has not yet come. However, this changes when the music momentarily takes a dramatic turn as the camera tilts up from a person’s walking stick to his face - revealing the antagonist, Loki. Through a series of low and high angle shots it is noted that Loki believes himself superior to those in the room. For example, one shot shows him looking down at the people gathered in the hall from a balcony; they are made to seem inferior to him and he is put into a position of power that shows he will have the upper hand in the upcoming action.

The asynchronous sounds of the violins and the synchronous sounds of the sound effects have been used to reinforce the effect of the beginning of the action and give the sequence more impact. As asynchronous and synchronous sound has not yet been used in the sequence the spectator is instantly sure that this is the start of the action. The tempo of the music picks up and the sound becomes more dramatic and sinister to reflect Loki’s plans for the man he is attacking. There is a brief close-up of the metal instrument he is holding to state it’s important to the sequence until the camera cuts away and focusses on a similar instrument in Hawkeye’s (Jeremy Renner) hand. This leaves the spectator in little doubt that the two are working together and makes the spectator feel confusion as to why an Avenger is working alongside the antagonist of the narrative. The question is soon answered when the camera cuts to a close-up of Hawkeye’s eyes; they are the same colour blue as the light from Loki’s staff and are quite expressionless; that forms the conclusion that he is having his mind controlled.

Part 2 

 

The music fades to silence as they take the metal but almost immediately picks up again into something much more dark and sinister as Loki’s armour materialises. The fact he is now wearing armour makes the spectator think that he is now unstoppable. We watch this from a low angle to support the idea that he has power, superiority and status. Also, the camera tracks his movements with a slow pace to match his own calm and collected manner then cuts to a low angle of everybody’s feet but still moves at the same slow pace. Instead of feeling frightened like the attendants of the gala it makes the spectator empathise with Loki. The camera stays low to track the urgent movements of the peoples’ feet as they are all united in the same panicked state but tilts up on Loki as he is the only one in the crowd unafraid. The shot continues by panning around 90° to show the large number of people he has frightened and makes the spectator wonder how one man has managed to cause so much mayhem.

The sequence continues by using a series of selective sounds to emphasise Loki’s suddenly unearthly appearance, such as the sound effect of the blue beam of light hitting the police car, the sounds of the clones appearing and the echoing sound of the staff hitting the ground. However, each of these sounds is relatable to the spectator so make them seem more realistic. For example, the sounds of the beam and clones are similar to sound effects from Star Wars (George Lucas, 1977); the beam like the sound of the Death Star lasers and the clones like the lightsabers. As soon as the staff hits the ground and the group of people are enclosed in light the sequence is given a claustrophobic feel even if the spectator is watching from a safe distance. This allows the spectator to become emotionally involved in the film without being directly in the action.

The music quietens drastically as Loki raises his voice to demand subjugation to put even more emphasis on the already enhanced volume of his voice. It remains quiet and subtle whilst he is talking to make the spectator listen and to put emphasis on his sinister words; the camera cutting between the frightened looks on the crowds faces and the reverse tracking shots of Loki walking between the kneeling people. The camera tracks back at the same pace as Loki so the spectator never feels he gets unnervingly close but always feel they are at a safe distance.

The dark, sinister music turns into something more hopeful and patriotic as Captain America arrives and Loki falls from a position of power to a weaker position through the use of an extremely brief tilt down. The positions of superiority and status have been temporarily reversed so low angles are used for Captain America and high angles for Loki. However, this only lasts for a few brief seconds until the camera falls back to eye level for both characters. This evens the playing field slightly and gives no hints to who will come out on top in the impending fight.

The ensuing fight sequence mostly uses a steadicam to smoothly follow the quick pace of the fight without placing the spectator too close to the action like a handheld cameras movements would. It also makes the action easy to follow; a technique, I have noticed, that is used in many other films of the Marvel superhero genre like Captain America (Joe Johnston, 2011) and Thor (Kenneth Branagh, 2011) to capture the audience’s attention and to fulfil the spectator’s wishes of wanting to see ordinary people with extraordinary powers – one of the main reasons people like to see superhero films. This technique satisfies those needs by never letting the spectator miss a moment of the action.

Throughout the fight sequence there are subtle hints that determine who will be victorious, like the use of Captain America’s theme music and the close-up of the determined look on his face before he rejoins the fight. Although, the use of a brief tracking shot from a low angle on Captain America’s side to a high angle on Loki’s, shows Loki is in the stronger position so makes it seem as though he will be the victor. Also, the purpose of the low angle when Loki is trying to subjugate his opponent is used to make him seem he is as tall as the building behind compared to the somewhat insignificant height of Captain America. These allow the spectator to draw their own conclusions about who will win, however, the predestined rules of the Marvel superhero films means that the protagonist will always prevail in the end.

The sequence concludes with the arrival of Downy Jr.’s, Iron Man. This confirms that the protagonists of the narrative will be victorious and allows the spectator to relax for the rest of the fight. The audience is made aware of Iron Man’s presence with the use of the song ‘Shoot to Thrill’ by AC/DC blaring out of the plane’s sound system. The use of heavy metal music has always represented the character and a similar technique was used at the beginning of Iron Man (Jon Favreau, 2008) where the song ‘Back in Black’ by the same band was used as the army trucks drove through the Afghan desert. The fight is well and truly won when the camera focusses on Iron Man’s guns and projectiles to emphasise that Loki is out-gunned and has lost. The sequence finishes with a two shot of Iron Man and Captain America looking down at the camera and, for the first time, the spectator is put in Loki’s point of view (POV) as he finally surrenders – putting the audience both actively and emotionally involved in the sequence.

 

Whedon’s use of cinematography and sound in this sequence clearly evokes a feeling of unease and excitement from the spectator but without ever getting the audience too actively involved in the action to create a more pleasant cinematic experience.