Coraline's Hidden Visual Details

Summary

The video script delves into the filmmaking techniques of 'Coraline,' exploring its eerie atmosphere and storytelling depth. It discusses the significance of the rule of three, staging, and the use of the Dutch angle to create suspense. The script also highlights the film's visual motifs and the impact of 3D cinematography on storytelling, urging viewers to rewatch the film with a critical eye for these elements.

Takeaways

• 😱 The animation 'Coraline' is considered scarier than many live-action horror films due to its unique filmmaking techniques.
• 🔍 The script discusses the significance of visual motifs and patterns, such as the repetition of threes, in establishing the film's surreal and eerie atmosphere.
• 🎨 The use of mise-en-scene and cinematography in 'Coraline' is crucial for understanding the storytelling, despite it being a stop-motion animation.
• 🌌 A popular theory about the well in 'Coraline' suggests it functions as a portal to a world of perpetual night, supported by visual cues like fairy rings.
• 📹 The film uses the rule of three to enhance memorability and tension, drawing from traditional fables and contributing to the film's surrealism.
• 👀 The camera work in 'Coraline' plays a significant role in creating suspense and unease, often positioning the audience as observers in the story.
• 📐 The dutch angle technique is employed to generate a sense of unease and is associated with different characters to add thematic depth.
• 🌈 The color schemes and staging in 'Coraline' are used to guide the audience's attention and foreshadow events, such as the battle between Coraline and Beldam.
• 👁️ The positioning of Coraline on the right side of the frame in the first act is a consistent pattern that may suggest narrative importance and power dynamics.
• 🌿 The film's atmospheric horror is built through subtle staging and depth cues, especially important in 3D films like 'Coraline'.
• 🍽️ The script ends with a reminder of the importance of supper time in the film, hinting at the domestic setting and the mundane amidst the fantastical.

Q & A

Why is Coraline considered scarier than most live action horror films?

Coraline's animation style, combined with its narrative and visual techniques, creates an unsettling atmosphere that can be more effective in evoking fear in viewers compared to many live action horror films.

What is the significance of repeating elements three times in Coraline?

The repetition of elements three times is a common technique in traditional fables to increase memorability and tension, and it contributes to the surreal atmosphere of Coraline by adhering to the 'rule of three'.

What is the role of the dutch angle in Coraline's cinematography?

The dutch angle is used to generate a sense of unease and disorientation, which enhances the horror elements of the film by creating visual anxiety and ambiguity.

Why does Coraline often appear on the right side of the frame in the beginning of the film?

Placing Coraline on the right side of the frame in the first 15 minutes of the film is a way to prioritize that section of the frame and lead the audience to associate the character on the right with narrative value and power.

How does the staging in 3D films like Coraline affect the viewer's perception?

In 3D films, depth cues are extremely important, and staging is often crafted with depth in mind to guide the viewer's focus and enhance the immersive experience.

What is the narrative purpose of the well's depth in Coraline?

The well's depth is suggested to be so profound that it functions as a portal to another world, which only has nighttime, adding to the mysterious and eerie atmosphere of the film.

What is the significance of the blue curtain in Coraline?

The blue curtain may simply be a visual element without a deeper meaning, but it serves as a reminder to stay mindful of the film's world and not to over-interpret every detail.

How does Coraline use visual callbacks to reinforce its themes?

Coraline uses visual callbacks, such as the consistent placement of Coraline on the right side of the frame, to reinforce narrative themes and create a sense of continuity throughout the film.

What is the impact of the camera's perspective in creating Coraline's horror atmosphere?

The camera's perspective, often lurking in the shadows or stalking Coraline, contributes to the film's horror atmosphere by creating a sense of unease and ambiguity about the characters and their intentions.

How does the use of color in Coraline contribute to the film's themes?

The clash between green and blue in Coraline foreshadows the battle between Coraline and Beldam, using color to symbolize the conflict and enhance the narrative's emotional impact.

What is the importance of the mise-en-scene in Coraline's storytelling?

The mise-en-scene in Coraline, including set design and costume, is crucial for establishing the film's atmosphere and revealing the artificiality of the other world, which is central to the story's themes.

Outlines

00:00

🎨 Filmmaking Techniques in 'Coraline'

This paragraph delves into the artistic and technical aspects of the stop-motion animation 'Coraline', directed by Henry Selick. It discusses the film's unique approach to storytelling and the use of visual motifs, such as the repetition of elements three times to evoke a sense of unease and surrealism. The paragraph also touches on the significance of the mise-en-scene and cinematography, which are often overlooked in discussions about animation. It introduces the concept of the well as a portal to another world, supported by visual clues like fairy rings and the presence of stars during the day. The summary also highlights the importance of staging in 3D films and the consistent positioning of the main character, Coraline, on the right side of the frame to denote narrative importance.

05:00

👀 The Camera's Role in Establishing Horror in 'Coraline'

This paragraph explores the role of the camera in creating the horror atmosphere in 'Coraline'. It examines how the film uses depth of field, lighting, and staging to direct the viewer's attention and build suspense. The paragraph discusses the use of the 'rule of three' in visual repetition to enhance memorability and tension. It also delves into the psychological impact of the camera's omnipresence, which serves to unsettle the viewer by creating an ambiguous sense of surveillance. The dutch angle technique is highlighted as a method to generate unease and is associated with both positive and negative characters, maintaining a high level of suspense throughout the film.

10:04

🌆 The Closing Act and Invitation to Explore 'Coraline'

The final paragraph of the script wraps up the discussion on 'Coraline' by inviting viewers to engage with the film's rich and layered world. It suggests that the film offers a multitude of pathways for individual exploration and interpretation. The paragraph humorously ends with an invitation to join Coraline for supper, marking the conclusion of the video script. It emphasizes the film's use of color, costume, and set design to convey themes and foreshadow events, encouraging the audience to pay attention to these details for a deeper understanding of the story.

Keywords

💡mise-en-scène

Mise-en-scène refers to the arrangement of everything that appears within a single frame in a film, including actors, props, and lighting. In the context of the video, it is mentioned as an element that is often overlooked when discussing stop motion animations like Coraline, but is crucial in creating the film's atmosphere and contributing to its horror elements.

💡stop motion animation

Stop motion animation is a technique where physical objects are manipulated in small increments between individually photographed frames, creating the illusion of movement. The video discusses how Coraline, being a stop motion animation, is often not analyzed in the same depth as live-action films, particularly in terms of its cinematography and visual storytelling.

💡dutch angle

A dutch angle, also known as a canted angle or oblique angle, is a cinematographic technique where the camera is tilted to one side, creating a sense of unease or disorientation. The script mentions the constant use of a dutch angle in Coraline to generate a sense of horror and unease, making the audience feel that something is not quite right.

💡rule of three

The 'rule of three' is a principle often used in storytelling where a particular event or action is repeated three times, with the third repetition having a different outcome or significance. The video script notes that Coraline uses visual repetition, such as the number three, to create a surreal and memorable atmosphere, which is a nod to traditional fables.

💡staging

Staging in film refers to the arrangement of actors and the camera to create a particular visual composition. The script discusses how staging is used in Coraline to direct the audience's attention and to create tension, particularly by placing Coraline on the right side of the frame in the first 15 minutes of the film.

💡depth cues

Depth cues are visual hints that help the viewer perceive depth in a 3D film. The script mentions that Coraline was shot in 3D, and thus, the depth cues are extremely important in creating the film's spatial relationships and enhancing the viewing experience.

💡narrative-driven

A narrative-driven film is one where the story and its progression are the main focus. The video script points out that Coraline is a narrative-driven stop motion animation, which can make it difficult for viewers to focus on other aspects like mise-en-scène or cinematography.

💡supervising shots

Supervising shots refer to camera angles that observe the action from a distance or a higher perspective, often creating a sense of surveillance or watchfulness. The script describes how these shots in Coraline contribute to the film's horror atmosphere by creating an ambiguous and unsettling feeling of being watched.

💡surrealistic

Surrealistic refers to a style or genre characterized by the use of dreamlike or irrational elements that defy the laws of reality. The video script explains that Coraline presents itself as a surrealistic fairy tale, using visual and narrative techniques to create a sense of the uncanny and the bizarre.

💡cinematography

Cinematography is the art of capturing images on film or video, encompassing composition, lighting, and camera movement. The script discusses the importance of cinematography in Coraline, particularly in creating the film's horror atmosphere and contributing to its storytelling.

💡portal

In the context of the video, a portal refers to a gateway or entrance to another world or dimension. The script discusses the well in Coraline as a potential portal to the other world, using visual and narrative elements to support this theory and to build suspense around the transition between worlds.

Highlights

Coraline is scarier than most live action horror films due to its kid-friendly animation.

The film repeats events three times, adding to its surrealistic atmosphere.

The use of a dutch angle is a common technique to generate unease.

The special significance of the right side of the frame in the film's early scenes.

Coraline's narrative is driven by a beautifully crafted stop motion animation.

Discussions about Coraline are often story-related theories derived from external ideas.

The mise-en-scene and cinematography are not typically focused on in stop motion animations.

The well in Coraline is theorized to be a portal to a world that only has nighttime.

Fairy rings around the well are believed to be linked with witches, supporting the portal theory.

The film uses visual elements like the dolls' movement to simulate magical forces.

The well's parallel with the portal could symbolize Coraline's departure from the unknown.

The graphic match between the eclipse and the closing of the well might allude to the link between two worlds.

Coraline was shot in 3D, emphasizing the importance of depth cues in the staging.

Coraline is often found on the right side of the frame in the first 15 minutes, possibly to prioritize narrative value.

The film builds anticipation for the first big turn by transferring the spotlight to the right side.

The use of staging in Coraline can drastically alter how a scene is perceived.

The film hints at its genre through the use of 'the rule of three' in visual repetition.

The camera's perspective in Coraline adds to the film's horror atmosphere.

The dutch angle shots in Coraline are linked with both good and bad characters, maintaining suspense.

The world of Coraline provides infinite pathways for viewers to create their own adventure.

Transcripts

Have you ever wondered why this kid-friendly  animation is scarier than most live action  

horror films? Or why everything keeps  repeating three times? 

How about the constant use of a dutch angle?

And what’s so special about this side of the frame?

Let’s talk Coraline from the perspective of filmmaking.

Henry Selick’s Coraline has been  out for over 15 years and somehow,  

I managed to avoid it until just last week. 

One of my friends found out and almost killed me for it,  so I watched it and I loved it.

In fact, I loved it so much that I dropped  everything I was working on and went on a deep dive;

I quickly learned that A, people  don’t talk about stop motion animations like  

they do live action films, and therefore,  B, most discussions about Coraline are  

story-related theories derived from ideas that  are outside the film universe.

And this makes sense.

It’s not exactly easy to focus on  the mise-en-scene or the cinematography  

when you’re watching a beautifully crafted,  narratively-driven stop motion animation.

But you could. So, before we  get to the meat of the matter,  

let’s do a little warm up exercise  with a popular theory about the well.

“It’s supposed to be so deep, if you  fell to the bottom and looked up,  

you’d see a sky full of stars  in the middle of the day”

The idea is that the only way you’d see a  sky full of stars in the middle of the day  

is if the well functions as a portal to  a world that only has nighttime - i.e., the other world.

A common visual support for  this claim is the fairy rings around the well,  

which are widely believed  to be linked with witches.

It’s a cool theory, and the supporting arguments  are drawn from the film world -

one from the script and the other from the set - but it’s  an ultimately subtractive approach that runs  

the risk of reducing the scene to a single block of idea and refilling it with too much outside information.

Since our goal is to expand on the film world without changing its molecular structure,

a better approach  would be to contextualize these elements.

For instance, take a look at these  two shots from the opening sequence.  

Do you think they are simulating the  dolls’ movement in and out of the well,  

or simply illustrating a magical force at work?

What about this shot of the well that parallels  the portal? Could this be a proof of the well theory,

or a symbolic depiction of the  unknown and Coraline’s departure from it?

And finally, is the graphic match between the  eclipse and the closing of the well alluding to  

the link between the two worlds, or is it just  a visual nod to the end of Beldam’s control?

As you can see, this approach helps to keep the  conversation going without leaving the film world,  

and believe it or not, stay more mindful of the  fact that the blue curtain may just be f-ng blue.

Speaking of blue curtains, Coraline was  shot in 3D. So when you think there is  

a strong pattern in the staging, remember  that depth cues are extremely important in  

3D films and most shots were probably  crafted with that in mind.

In fact, most things in a film always have a  more practical reason behind them,  

so take everything ahead with a grain of salt. 

But seriously, why is she always on the...

Okay. Firstly, Coraline isn’t always found on  the right side of the frame - this pattern is  

hardly substantial in the grand scheme of things,  with most later cases being mere visual callbacks;  

however, it is rather consistent for  the first 15 minutes of the film,  

specifically when Coraline is seen with other  characters. So, what could this mean?

The most obvious answer would be that the film is trying to prioritize one section of the frame.

This would, in turn, lead you, the audience, to  associate the character on the right  

with narrative value and power when multiple figures are present.

And this actually makes a lot of sense if you think about what happens in the first 15 minutes:

build-up.

While the button-eyed doppelgangers and the  soul sucking beldam are visually daunting,  

Coraline’s real horror is atmospheric.

This means that the main goal of the first act is to  build anticipation for the first big turn.

So when Coraline is about to discover  the portal for the first time,

...the film transfers the spotlight by placing  the doll on the right side - heightening the tension

with an unexpected switch just before the big reveal.

End of act one.

Now, is this a blue curtain?

Most likely, yes, 

but staging is a crucial part of filmmaking that  can drastically alter how a scene is perceived.

For example, take a look at how  this scene plays with depth:  

you have the window at the front, the mother at  the back, and Coraline in the middle.

Initially, the shallow depth of field and the motion  created by the rain makes you assume that  

the scene is highlighting the foreground. But in  reality, you are likely to pay closer attention  

to Coraline’s mother due to the lighting and the absurd conversation,

"I'd have died."

"That's nice."

and less attention to the four bags of seeds that later form the garden in the other world;

you could even argue that  the rain is a visual distraction that further prevents you from noticing the seeds, who knows?

Conversely, you could have a setup like this,  

where the foreground object guides the audience  directly to relevant background information:  

three candles and three portraits, right  before the other mother reveals her true color.

But hold on a second. Three candles and three por...

Even before the first act build-up takes place,  

Coraline establishes its horror atmosphere  by presenting itself as a surrealistic fairy tale.

This becomes more evident as the  story unfolds, but one cheeky way the  

film hints at the genre throughout is by  using something called ‘the rule of three’.

This rule, most often found in traditional  fables, has an event repeat itself a total  

of three times with only the third one having  a different outcome. With the exception of two  

specific events - namely, the three tasks and the  three times Coraline goes to sleep in the other world -

there are only tints of this idea in forms of visual repetition:

the three pieces of cotton, three apartments, three ice cream scoops, three dogs, three mice,

three hummingbirds, three candles, three portraits, three kids,  three bowls, three tasks...you get the picture. 

While the main reasoning behind this rule  no longer applies, its narrative application  

and psychological effects are still  relevant; repeating things three times  

does make them more memorable, increase  tension, and make the film world feel  

surreal thanks to the many adaptations of  classic fairy tales that employ this rule.

But who cares about the genre, the early act  buildup, and a few nudges here and there?

They are too vague and scarce to create an impactful  atmosphere for the entirety of the film.

What is the one thing that is always present?

The camera

The real horror of Coraline is in the eyes of the camera itself, lurking in the shadows, hidden behind the eyes of  

others that come upon Coraline, and stalking  her as she ventures out into the unknown.

Sometimes, it prowls behind the bushes as a  cat, and at other times, as a curious boy next door.

But the shots always continue to survey  from all corners of the world, muddling the  

perspective and mystifying the origin. Is it a  protection or exposure? A friend or a foe?

The ambiguity behind the supervising shots are what  keeps the film on edge, even when all is well.

A similar but more pronounced trick is  the dutch angle, a technique commonly  

used to generate a sense of unease by having the  camera slightly tilted on its horizontal axis.

And like the surveillance shots, the film  correlates the canted angle with different  

characters, magnifying the effect by adding  thematic relevance to the visual anxiety. 

Take this scene of Coraline discovering  the portal. In other films, the dutch angle shot would,

one, serve to reflect Coraline’s  disoriented state following the chase,

and two, imply potential threat.

So any suspense that follows would be about the  ascertained danger that awaits on the other side.

But because the Dutch angle shots in Coraline  have a direct link with both the good and the bad,  

the audience is forced to continue  questioning even after reaching the other side,

and the suspense is kept  high until the truth is revealed.

Next time you get a chance, watch the film from start to finish

and try to note exactly when the Dutch angle shots appear.  

While most of them might not have as profound an effect as the portal example,

they will appear only when the scene entails some kind of a threat -

whether it be a story,

"I've never been inside the Pink Palace"

"She thinks it's...dangerous or something."

a ploy,

or fear itself.

From the carefully placed dissolve  transitions that hint at Beldam’s control,  

the costume and set design that disclose the  other world’s artificiality,

to the clash between green and blue that foreshadows  the battle between Coraline and Beldam,  

the world of Coraline provides infinite  pathways for you to create your own adventure.

Hopefully, this exaggerated plunge gave  you the tools to do so;

take what you will, and abandon the rest.

Or trash all of it. Doesn’t matter.

Either way, the Sun has set, and that  means our path has come to an end.

Because, if there is one thing you do not want to miss,...

"Mom? What are you doing here in the middle of the night?"

“You’re just in time for supper, dear!”

...it’s supper time.