Skyfall Essay - how is spectatorship and narrative approached?

  Skyfall

- What is interesting about the narrative and spectatorship in Skyfall?

Daniel Craig's Bond reboot introduced Bond to a young, new generation that were/are more likely to be less familiar with the previous Bond films and conventions that they generally employed. Following the spectacle trends of films in the last 20 or so years, younger spectators grew up with appreciating and expecting the high budget blockbuster films to be of a cinematic and/or spectacular quality that have some overarching meaning; the director and producers of the 007 franchise were conscious of that, so, Bond was reinvented in the 2000s, steered in a new direction that aligned with the changing views of the new decade, most notably in a post 9/11 world. Skyfall is the standout example of this, including a fresh aesthetic quality due to the fact that Roger Deakins brought his stylised, cinematic lighting. Vulnerability and relatability, particularly in James Bond that relates to the repositioning/re-evaluation of masculinity; the Bond villain attacking through computers, relating to increased technological fears and changing powers/dependency on technology; a prominent theme of patriotic insecurity within Britain; and repositioned female roles that also bring ethnicity into the mix. Despite this new direction in representation and ideology, the narrative of Skyfall - as a high-budget spectacle intended for cinematic viewing to the masses - still follows a conventional, linear, Todorovic structure split into 3 acts. Unlike previous Bond films, Skyfall reinvents the nature of the narrative events in Bond. It is made new and enigmatic for the spectator right from the opening shot: a blurred silhouette of Bond walking down a corridor, his eyes lit up as he is in a CU, exampling the film's first metaphorical foreshadowing device - enigma and distance is created for us, the eyes - the window to the soul - only being lit up as a potential metaphorical hint of going back to his roots, his identity explored humanely. It also places Bond in a dominant shadow realm, which can be reckoned with how the villain Silva is described; so in this sense, from the very start, they are positioned as almost the same character, or at least the dark shadow identity of Bond. Bond's askew gaze is representative of Bond's world, one just a few degrees away from the real world it reflects. The spectator is positioned to empathise and like his character in a completely new way than before, as he tries to help the dying agent, seen helpless from his POV, the reaction shot of Bond shows his empathy. The absence of cross-cutting at this moment introduces M as contrastingly cold-hearted, so we are positioned to immediately side with Bond because of his relatability and therefore view M with the same distance as Bond does, anchoring her audience's perception for the rest of the film; the exposition for the main conflict. 

When Bond is shot by Moneypenny, we witness the apathetic disposability of MI6 agents, feeling the betrayal and shock as a reaction to the death of a Bond we care about. Therefore, the filmmakers have successfully, in theoretical terms of spectatorship, made the spectator immersed, the film stimulating a physical and emotional reaction: central imagining. Despite the enigma of Bond's supposed death, we expect him to survive because it occurs at the start of the film. The narrative becomes omniscient as we are made aware of Bond's survival and new lifestyle while the other characters do not, M writing a eulogy and London symbolically mourning through the bleak mise-en-scene. The first scene is important in presenting the changed archetype of Bond's character - although, in relation to Propp, still the (seeker) hero - he is made relatable to the spectator during his 'broken' phase after he is rejected from MI6 as well as in the training montage when he decides to return after MI6 was blown up. Because he is so familiar with us, in seeing him like this we empathise and understand the detriment his lack of ability has to defeat villainy, foreshadowing his failure to complete missions - and even when the villain, Silva,  is captured it is through Q's technology rather than Bond's force. 

Passive engagement is the overarching spectator response during the first action sequence when Bond chases the antagonist Patrice to take back important data from the British Government. Spectacle is used through the fast pacing and editing, action-packed music to guide our tense emotional response, and spectacular stunts on motorbikes and on the top of a train, the leitmotif indicating to the audience of Bond successfully defeating Patrice. One interesting detail can act as a potential set-up for Bond's attitude to modernity: during the shootout between the two opponents, Bond fails to work with the handgun, looking down at it with annoyance before tossing it away, establishing his preferment for brute force or weaponry that requires physical force rather than modern methods; this attitude is revisited again as he meets Q, claiming that 'youth doesn't guarantee innovation' implying that new, modern methods of invention do not necessarily overrule old ones, symbolically represented during the 3rd act as Bond finally kills Silva with a dagger rather than a gun because 'the old ways are the best', a voyeuristic demise of the villain for the spectator. There are no complicated morals or messages during this opening sequence and the hero vs villain roles are not ambiguous: it is simply about creating a tense emotional response and immerse the spectator into the world of James Bond. Suspense is drawn out when we are positioned with Moneypenny aiming to shoot Patrice as he struggles with Bond on the top of a train, the stakes made high as the train approaches the tunnel; shot reverse shots are used between Bond and Patrice, cutting back and forth to Moneypenny, the building non-diegetic music prolonging the drama. This sequence acts as a setup for establishing Bond at his best (equilibrium) when it is juxtaposed to Bond being at his worst after he is shot. In relation to Todorov, the gunshot indicates the disruption of the narrative equilibrium that subverts audience expectation of Bond succeeding. The music fails to reach its dramatic crescendo, simply stopping as a reaction to the shock of his unexpected 'death', the loud wind and water splash as he falls into the river emphasising this sudden realisation - and as a spectator, the change to diegetic sounds places us back into reality, the reality of bond being shot and failing his mission, the spectacular cinematic immersion broken. Therefore, the rest of the film could be regarded as the rebirth of Bond and a repairing of the disruption which is stimulated by Bond choosing to return to MI6 and thus confront his fractured relationship with M, as the hero acknowledging the narrative disruption and attempting to repair it. 

The leitmotif dies as he falls into deep water, the camera following his descent to the bottom, looking down as he sinks below us, contrastingly framed as weaker. Water could be seen as a narrative motif, with each reference occurring at the very start and end of the film, both representing the change in Bond's character arc. At the start when Bond is shot, we only watch him sink before the transition to the title sequence, the mise-en-scene having aesthetic reflections of water, the red blood stains contrasting visually against the blue. The title sequence foreshadows the plot of the film. For example, Bond is dragged to the bottom of the water, foreshadowing how he is forced to confront his roots in the narrative by going to his childhood home that acts as both a mental safehouse and prison, the entrance also being shown in this sequence. In addition, M is shown to be engraved on a headstone within a graveyard, although not made obvious to the spectator to not spoil the viewing experience. However, this choice is understood to the spectator on a second viewing, suggesting that the filmmakers may have intended the film to be viewed multiple times with the changing accessibility of film-watching; streaming platforms, DVD, and TV distribution. This intention breaks the conventions of Bond; Skyfall has been made with self-seriousness with unexplored meaning and representation rather than a forgettable action/spy spectacle full of Bond tropes - although there are some to not alienate the audience from the expectations of  'Bond film'. M's death is also foreshadowed after the 'death' of Bond as she travels to MI6, her face reflected on the car window while sorrowful bells ring, as well as the Governmental Mallory as he says 'you've had a good run', predicting her downfall as head of MI6 and we as an audience are not shocked when it happens because of this recurring reminder. Coming back to water being a potential narrative motif, because the plot/themes of narrative are explored in the title sequence, the connection between being in the depths of water acts as a metaphor for Bond's insecurity, being trapped and unable to avoid his past, brought up by Silva, as well as Bond's psychology and broken identity; he is framed in an ELS, not knowing where to shoot, represented as a bleeding target, and shooting shadows - which is what the enigmatic threat/villain in the narrative is described as. Therefore, water has established a representation of insecurity. In terms of Bond's character arc, he falls into deep water again at the end of the film as he is fighting off one of Silva's henchmen on a frozen lake at his ancestral home. He tussles underwater in a tense spectacle, the spectator positioned to feel the suspense of the struggle as the camera intimately remains in a CU, cutting to POVs from Bond so we identify with him. Due to the nature of the successful blockbuster Bond franchise, we know he won't die, but nevertheless, this is an important resolution for his rebirthed character arc. He succeeds in defeating the threat, seeing him create an escape route by breaking the ice, unlike the beginning of the film where he sinks defeated, an absence of life and perseverance to survive because Bond had lost all faith in his establishment. So, in the second mirror image of this first shot, Bond is now determined to complete his psychological journey and not let himself be consumed by his emotions; he is now ready to kill Silva and we feel gratification and closure at his demise. 

For British spectators of Skyfall, we are steered to feel British patriotism despite the great loss and insecurity within the British representation: MI6 failing to combat threat even with the revisited youthful Q; M is constantly urged to retire by Mallory; and Bond 'dies' and fails all his tests, his loyalty to M wavering. British patriotism is reinforced from this insecurity, within shots such as the line of  coffins clothed in the Union Jack, emphasised in the foreground of the frame almost pointing in an arrow, drawing our eyes to the matriarchal M standing over as the figurehead of MI6, the representation of London's - an by extension Britain's - primary protector. Other iconography such as the London landmarks, MI6 relocating to Churchill's bunker and the symbolic expression of Churchill in M's china bulldog, the Aston Martin and leitmotif that identifies audience's with a nostalgic (British) Bond, all adding to the associations of Bond paradigms. These physical iconographies of British culture are presented as patriotic, admirable, and nostalgic to the viewer despite what background they inhabit. However, for the British spectator, situated in British culture, which enhances the realism and impression of reality the film puts forth - in relation to response theory - inhabit a social self and we are steered to view familiar ideological/cultural information and thus have a similar, emotional social response from this imagery. Bond relies heavily on cinematic, theatrical viewing from the intense sound scaping, stylised cinematography, and spectacle, and so this response is intended; the emotional connection/intimacy established with strangers in this preferred viewing, that are assumed to have the same social self response, strengthens the patriotic messaging. Stuart Hall's dominant/preferred reading of reception theory can also be applied in this context: we are positioned as a mass so the issues are not particularly deep or thought provoking/subjective and can be shared/felt by a relative/social audience of similar ideological and cultural positioning. Therefore we become a passive audience that are more likely to accept the morals and messages as they are encoded without challenge and are therefore more likely to be affected by them. This also translates to the definition of Hypodermic needle positioning. 

One significant character arc in the narrative is the development of Mallory. His succession to M is not received with hatred because of how he was repositioned in the film. We sympathise with M's insecurity at being pushed to retire; she had been M since Pierce Brosnan - admirably defeating evil - so the spectator sees her as the rightful leader, and so we are positioned to dislike Mallory's interferement. This separation is heightened in the cinematography, their opposition made clear. In Mallory's first introduction, he is stood above M in a wide frame, not particularly patronisingly but with an air of confidence that leads into their disagreeable discussion. They are framed in opposition but as equals. The lack of fast cuts draws out the suspension of how the conversation dynamics will lead, the spectator flicking eyes to each end of the frame as they respond quickly to each other's claims/opinions, the camera cutting in a CU of each side profile as the conversation becomes more accusative vs defensive. Mallory's performance indicates his relaxed positioning and unchanged stance on MI6, comfortable in his position and opinion on MI6's failings while M is sat straight, projecting her defensive pride. This oppositional framing continues in M's new underground office: Mallory stands above M, framed in a low angle and thus as a threat to MI6. We are positioned to side with M as she stands up, taking control of the conversation as well as the camera - and thus our attention - as it moves with her, making the spectator feel like they are also 'standing up' with M in solidarity (central imagining positioning). The repositioning occurs when both oppositions are presented, through cinematography, to share the same reactions against the news claiming MI6 to be 'in crisis'. Mallory and M are grouped together in the frame, the POV shots watching the television indicating they view the same content with the same opinions. Later during a hearing with the Government regarding the future of M16, Mallory's repositioning is completed. This scene utilises cross-cutting between its 3 central characters to show simultaneous narratives and a set-up for the main conflict to come. Silva is imprisoned in a rounded glass cell, his carefree performance and continual cross-cuts to him indicating he is plotting something significant in the narrative; Q and Bond are trying to figure this out in a simultaneous scene. I find the representation of Q's technology interesting in terms of spectator response; the diagrammatic structure on Q's screen is made incomprehensible to the spectator, yet Bond is able to decipher minuscule details within this complicated web of information. From my perspective, this is perhaps intended to create both admiration in understanding this information as well as creating distance for the spectator: we are not supposed to relate to the MI6 world because it, such as this exampled technology, is so removed from out reality. Although, particularly in action/science-fiction mash-ups this has been made a trope, and so the spectator response would be different depending on the changing cultural and social backgrounds. Silva is placed between these two scenes, acting as the centre of their problems. He escapes, an action code for stimulating the next action sequence and narrative continuum. Spectacle and thus immersion is created as bond chases him, the music building as we see Silva disguised in a Police's uniform. guided by Q - as a call-back to the first scene with M -.comedy is created; 'don't get on the train, I'm sure he's on it...get on the train'. This interaction acts as a comic moment to relieve tension, receiving Roland Barthes' 'Pleasure of the Text' response; a sensory/physical (laughter/smile) and vicarious identifying with Bond's predicament) response. Dramatic irony is also created as we know where and who Silva is but Bond does not. In perhaps the largest spectacle of the film - showing off it's high CGI budget - a London tube train falls through to the underground system, led by Silva to kill Bond and also - in irony - disrupt and destroy the literal roots of London, the hub and face of Britain and thus an attack on British culture, which the audience, as discussed, depending on their situated culture, will experience a negative emotional response. When Bond survives, this is a critical point in the repositioning of Silva as he loses control of the situation. In the cut back to M's hearing, her dialogue explaining how enemies are no longer on a map, rather anarchic individuals, 'look around you. Who do you fear?'. In a manipulative cut to Silva as an appropriated policeman, the spectator is made clear of this connection and its contextual significance. For this era of Skyfall's first spectators in relation to their situated culture; the 2000s marked a significant rise of terrorist organisations, attacking western landmarks of significance (9/11), promoting a rise in fear accentuated by the fact that often terrorists were disguised as pedestrians, unknowingly and unassuming to everyone around them. Therefore in cutting to Silva disguised as a policeman, on a train, getting in a police vehicle, and walking around, perceived to be innocuous because he represents British protection; M brings forth this frightening point: 'it's all opaque, it's in the shadows'. Therefore, this is (perhaps) an encoded impression of reality for the spectators: villainy codes for terrorism. Cutting to Mallory smiling fixated on M is extremely important in repositioning him as an ally to M and MI6. M concludes by reading the Tennyson poem, 'Ulysses'; 'we are not now that strength that in old days ruled earth and heaven'. This relates to the changing world and the demoted status of Britain as a global power. MI6 is the only organisation that promotes British patriotism, and therefore could be seen to represent it in Skyfall. Thus, we are positioned with MI6 and against the British Government. 

Skyfall presents mythical representations of its characters and narrative ideology, most prominently the mother vs son relationship between M and Bond/Silva; one good, one bad, and both betrayed. During Silva's introduction, Bond is tied in a chair and Silva exploits this to his advantage, bringing sinful temptation by saying how they could team up against M, bringing up parallels between their similar betrayals, and rebel against the ideological mother. One provoking shot that symbolises this relationship is when Silva is captured: he sits in an octagonal glass cell, the surrounding empty room putting him in focus, split up by compositionally vertical floor vents. Bond stands divided in one square as a parallel, moral division of Silva and M stands on the centre vent facing Silva, the centre of this division. M is not divided because she is intrinsically linked to Silva, ultimately causing the issues of the film in the first place from her disloyalty to him. When Silva says, 'it was you who betrayed me', we cut to an important reaction shot of Bond in MS looking at M, the ideological sons brought together. The film's Hero's Journey (Campbell) is also more than just literal by the many thresholds Bond journeys through (crossing into the abstract realm of his past in Scotland, as well as literal crossings into the exotic locations in China and Turkey) and symbolic death of hero that stimulates his resurrection into becoming something new for the audience and his character archetype: a cycle of death and rebirth necessary for his mythical transformation. Mendes makes the character inhabit both the real and surreal world; from our world to a cinematic one to a world of Bond.  The film charges a metaphorical movement between worlds from the old (Istanbul/London) to new (Shanghai). Similarly, when Bond's parents were shot, he hid as a child in his ancestral home's secret passageway and symbolically was rebirthed as 'a man'; a right of passage into manhood. An important and symbolic narrative device occurs at the end, summarising the film's attitude to the rapid advancement of modern methods. Kincade claims, 'sometimes old ways are the best', the camera in an insert shot focusing on the knife he places on the table. This foreshadowing device tells the spectator it's a Chekhov's gun - the final old method used to kill Silva by Bond in the end. While Silva uses automatic weapons, helicopters, bombs, and grenades to kill, Bond uses comparatively primitive methods, representing how despite Britain falling behind, not being the 'strength that in old days ruled earth and heaven', it still prevails, the spectator being positioned to view this ideology with patriotism. Bond is finally rebirthed, repositioned with Britain and MI6 framed in a wide shot above London, a Union Jack flaring: order is restored. Mallory succeeds as the new M - a restoration of the traditional Bond patriarchy - and Moneypenny's identity is revealed. This is an extreme pleasure of the text response from a spectator familiar with that Bond reference, responding to the enigma of Bond's next mission preceding the leitmotif and gun barrel logo. Resolution, moral satisfaction, and voyeurism is employed. In concluding the mythic ideals of Skyfall, M is made immortal. Though the M we knew dies, M as a symbolic/mythic representation lives on and is rebirthed.