Cinematography of "The Diving Bell and the Butterfly"

OVERALL LOOK

 The cinematographic aspects of the film – the qualities of the film stock, lightning, lenses, framing, angles, camera movement, and use of long takes add up to overall look. We can see that these factors are of good qualities and they all associate with each other very well. In some shots of the film, they are all present at the same time. For example, at the beginning of the film, light flutters, color flickers, low-angle shot (the camera is below the people looking at it), camera movement (camera shifts constantly from the doctor to the nurse); the framing demonstrates the limit a person is able to see with an eye. Overall, the director creates the narrative by putting the audience in the same position as the main character who suffers from the frustrating effects of a stroke. It gives such a strange and personal experience that attracts the audience from the beginning of the film.   

IMAGES

The image of Bauby being trapped in the diving bell in the deep sea conveys the meaning that Bauby is being prisoned in his own body and there is no way out. No matter how loud he may shout, he can not be heard. In Bauby’s situation, he can not talk and thus has difficulty in communicating with people around him. 

The image of Bauby sitting along in front of the sea or sitting on the field implies that Bauby is having a great feeling of loneliness.

The image of the rock mountain falling down implies that the stroke turns Bauby to another page of his life, a horrible period of time. Everything seems to collapse on him. 

The constant image of boundless nature such as the sea, the mountain, the field, etc. conveys that the more Bauby feels trapped in his own body, the smaller he thinks of himself as an isolated human existing in this enormous and limitless nature. 

The image of the hospital hall implies that Bauby is living in a very boring place in which the same routine is repeated day in and day out.

The image of the diving bell and the butterfly implies that the butterfly can feel free to be anywhere or do anything while being diving bell is like being in prison. These two contradictory images convey how much Bauby wants to be set free from the diving bell and have the freedom like a butterfly.

The X-ray tells us that there is something wrong with the shape of somebody, even though we have not seen the character yet. As soon as we see him paralyzed and unable to talk, we recognize the theme of the movie and the method of narrating. 

SHOT LENGTHS

There is a recognizable pattern in the length of shots. Most of the time, close-up shots are used. The reason is that in this film, the director aims to put the audience in the main character’s position. A lot of times during the film, along with the fact that the audience observes things through the eye of Bauby, there are some rapid events and emotional states attached, so close-up shots are appropriate the most. Besides, long takes are used also, mostly on the image of vast nature and his interaction with his nurses and family.  

 

                                A close-up shot

                                                                                                    A long take

                                    

SHOT TYPES

In the film, shots such as extreme close-up shots or extreme long shots are used. The extreme close-up shots (ECUs) are usually the shots in which the nurse or the doctor talks to Bauby, especially the shot at the very beginning of the film when Bauby opens his eye for the first time after the stroke. In these moments, these shots demonstrate the close facial features that can be seen by Bauby. Also, these ECUs make the audience feel extra uncomfortable being in Bauby’s position and thus, the audience can empathize. Most of these shots do not follow the rule of third but use composition stress instead emphasizes the loneliness Bauby feels. Regarding the extreme long shots (ELSs), they are used for the image of the ocean or ranges of mountains. These ELSs emphasizes the environment or the background the character is against. In this film, it is the enormous nature, the length of time and the great isolation that Bauby faces with. 

                      ECUs

                                                                                                       ELSs

CAMERA ANGLES

There are many low-angle shots in the film. Especially, there are ones that represent the point of view of Bauby, or represent the others’ point of view of Bauby. These low shots also convey Bauby’s feeling towards the others and vice versa. By showing how an observer sees something, it can also convey about the character’s state of mind, or what he is thinking and feeling.

The following example represents Bauby’s point of view as he looks at his nurse. This low-angle shot represents how Bauby observes the nurse’s smile. It also conveys Bauby’s adoration for such a beautiful woman.  

There are also other low-angle shots but does not represent point of view. For instance, the low-angle shot that captures moments when Bauby is driving his car. This low-angle shot places the observer in a position of inferiority, which enhances the image of Bauby as someone successful, healthy and full of energy in his happy life in the past.

 

COMPOSITION

Regarding the composition of shots within the scene, it can be seen that the elements within the frame arranged in a less “painterly” composition. Most of the time, what an eye is capable of watching, especially it is the eye of a patient lying or sitting still, does not conform to the rule of thirds. It contributes to making the audience think they are really seeing Bauby’s world through his eye, which is such a realistic feeling. Moreover, composition stress is used when he faces the frustrating effects of the stroke. Meanwhile, when remembering his happy life or imagining, high-angle shots are used. Therefore, the composition also contributes to creating the two streams of emotions in Bauby.

CAMERA MOVEMENT

Most of the time, the camera movement is rapid which creates the feeling of anxiety. When Bauby is in awkward situation, the camera movement is increased. For example, when Bauby wakes up for the first time after the stroke, we can see that there is constant camera movement for Bauby is feeling dizzy, odd and not knowing what is happening to him. 

 However, when it comes to emotional situation, there is not much camera movement. For example, when Bauby meets his ex-wife and he cries, we can hardly see any camera movement. 

CINEMATOGRAPHY STYLE

In this film, the cinematography calls attention to itself and it is intentional. Cinematography including shots, camera angles, camera movement, etc. contributes to the method of telling the story of Bauby and the emotional state that main character is going through. Overall, cinematography in this film creates the strongest attention for the film.