The Lifeguard Film Analysis
The Lifeguard, a low budget drama from writer and director Liz W Garcia, premiered at Sundance Film Festival 2013 where it competed for Best Dramatic Film and had limited release. Garcia was “inspired” by Andrea Arnold’s film ‘Fish Tank’ “where the performances are so naturalistic…she’s able to be gritty and lyrical” (Garcia, 2013). ‘Cinema screen is interested in representation’ (McClements, 2016), and the drama genre adheres to this idea as Jule Selbo (a professor in the Radio Television and Film), says is a ‘very real world and emotional development of realistic characters’ (Selbo, 2014). This is evident in drama, as the use of stark reality and relatable situations allow audiences, through screen, to be captured by familiar emotions.
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Daniel Chandler proposed, ‘Conventional definitions of genre tend to be based on the notion they constitute particular conventions of content, which are shared by the texts, which are regarded as belonging to them.’ (Crowley, Hiddelston cited Chandler, 2011).
Selbo states, ‘the most important element of the drama genre is the use of the everyman/everywoman protagonist’ (Selbo, 2014). Dramas often have leading protagonists that exudes reliability; how they look, speak, where they are and what they do. These motifs continue with locations and setting; bars, houses, streets, and imagery we see in everyday life. Close up shots (in particular of the lead protagonist) are common, as Christopher J Bowen an instructor of cinematography at Boston University said “The close up of anyone’s face is a very intimate shot. It carries with it a great deal of visual information…” (Bowen, 2013). Drama uses medium shots to show confrontation so the audience can see and feel all that is happening, while still feeling as though they are there in the
scene.
David Morley said ‘the meaning of the text must be thought in terms of the discourses it encounters in any particular circumstances’ (Morley, 1992). Drama explores many discourses; who am I? Where do I belong? Am I loveable? The Life Guard’s discourse was ‘Is this all I am?’ These films are made because, while the thought is horrific the audience wants to see it and understand. As Conrad Hall said ‘The audience has to understand that is a film is going to have any meaning for them they must empathise with the characters to visualise the process of concentration involved in making every move’ (Hall, 2016) and this applies to drama as characters have reliability, more so, over other genres.
Missense:
A mid shot establishes setting; the characters are in focus, their table is the only one lit. Character’s are focused upon when they are in shot and speaking. As they sit around the table, the silhouettes of other characters are seen out of focus, creating a visual conversation, allowing the audience to feel like they are sitting at the table, making it a realistic experience. Low-key lighting which is warm and soft creates an easy and relaxed environment that isn’t contrived. The camera positioning is still, with smooth transitioning to support a feeling of easiness. Tension comes from the male antagonist, as the scene moves from him to Kristen Bell. The other male character is used as an enabler the camera depicts him enjoying himself with a female bystander. The costumes depict middle class clothing with the lead protagonist looking juvenile in a hoodie, while the bystander is dressed more formally. There is a strong message of realism for the audience as they easily relate to a setting where the focus is on being out with friends rather than how they look. The audience sees themselves in the characters. The restaurant, with its fairy lighting and decking, supports the relaxed environment in which the characters sit and the audience identifies with this vibe. The lack of traffic on the road and the positioning of the restaurant across the road from a gas station indicates the location is a small town, and this extends the casual atmosphere. Sound in the scene is diegetic; there is no score but we can hear music from the restaurant; crickets buzzing implying that it is a warm season; we hear the sounds of muffled voices and clinking crockery from the other tables; and the sound of skaters across the road. This is realistic and immersive, and furthers the idea that the audience are indeed a part of the scene.
Daniel Chandler proposed, ‘Conventional definitions of genre tend to be based on the notion they constitute particular conventions of content, which are shared by the texts, which are regarded as belonging to them.’ (Crowley, Hiddelston cited Chandler, 2011).
Selbo states, ‘the most important element of the drama genre is the use of the everyman/everywoman protagonist’ (Selbo, 2014). Dramas often have leading protagonists that exudes reliability; how they look, speak, where they are and what they do. These motifs continue with locations and setting; bars, houses, streets, and imagery we see in everyday life. Close up shots (in particular of the lead protagonist) are common, as Christopher J Bowen an instructor of cinematography at Boston University said “The close up of anyone’s face is a very intimate shot. It carries with it a great deal of visual information…” (Bowen, 2013). Drama uses medium shots to show confrontation so the audience can see and feel all that is happening, while still feeling as though they are there in the
scene.
David Morley said ‘the meaning of the text must be thought in terms of the discourses it encounters in any particular circumstances’ (Morley, 1992). Drama explores many discourses; who am I? Where do I belong? Am I loveable? The Life Guard’s discourse was ‘Is this all I am?’ These films are made because, while the thought is horrific the audience wants to see it and understand. As Conrad Hall said ‘The audience has to understand that is a film is going to have any meaning for them they must empathise with the characters to visualise the process of concentration involved in making every move’ (Hall, 2016) and this applies to drama as characters have reliability, more so, over other genres.
Missense:
A mid shot establishes setting; the characters are in focus, their table is the only one lit. Character’s are focused upon when they are in shot and speaking. As they sit around the table, the silhouettes of other characters are seen out of focus, creating a visual conversation, allowing the audience to feel like they are sitting at the table, making it a realistic experience. Low-key lighting which is warm and soft creates an easy and relaxed environment that isn’t contrived. The camera positioning is still, with smooth transitioning to support a feeling of easiness. Tension comes from the male antagonist, as the scene moves from him to Kristen Bell. The other male character is used as an enabler the camera depicts him enjoying himself with a female bystander. The costumes depict middle class clothing with the lead protagonist looking juvenile in a hoodie, while the bystander is dressed more formally. There is a strong message of realism for the audience as they easily relate to a setting where the focus is on being out with friends rather than how they look. The audience sees themselves in the characters. The restaurant, with its fairy lighting and decking, supports the relaxed environment in which the characters sit and the audience identifies with this vibe. The lack of traffic on the road and the positioning of the restaurant across the road from a gas station indicates the location is a small town, and this extends the casual atmosphere. Sound in the scene is diegetic; there is no score but we can hear music from the restaurant; crickets buzzing implying that it is a warm season; we hear the sounds of muffled voices and clinking crockery from the other tables; and the sound of skaters across the road. This is realistic and immersive, and furthers the idea that the audience are indeed a part of the scene.