Framing Romance: The Cinematic Aesthetics of Cultural Difference
As a form of visual storytelling, cinematography has the ability to cross cultures revealing the subtle nuances of a different culture. Arguably, the romance genre is one of the greatest champions of talking about culture, simply due to the simple fact that love and relationships are timeless, and UNIVERSAL things. There is existing research on cinematography and cultural representation in such films, which reveals how visual and aesthetic realities can likewise shape public perception. Cinematography covers a variety of techniques including lighting, color, and mise-en-scène that, when put together, defines a film’s visual texture and emotional heaviness. More than any other genre, romance in particular relies on this cultural referencing to create bespoke worlds and human connections with the reader that feel grounded. The methodology used henceforth in this study compromises of a selection of culturally significant films which represent the functional use of cinematographic techniques to depict cultural motifs.
As two of the most applauded film, In the Mood for Love and La La Land — — were chosen based on their influential visual styles and how they can express the audience the cultural ambiance just by using cinematography. This analysis will center on lighting, color palette, and mise-en-scène to provide insight as to how these films set up visual storytelling that emphasizes these cultural particularities.
I found that lighting plays a crucial role in creating mood and atmosphere in films. In “In the Mood for Love,” directed by Wong Kar-wai, lighting is used to evoke the nostalgic and melancholic atmosphere of 1960s Hong Kong. The use of warm, dim lighting and shadows accentuates the sense of longing and unfulfilled desire between the characters. For example, in the scene where Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) pass each other in the narrow alley, the lighting is soft and dim, creating an intimate, almost dreamlike quality. The warm glow from the street lamps casts long shadows, enhancing the feeling of secrecy and unspoken emotions.
In contrast, “La La Land,” directed by Damien Chazelle, uses bright, vibrant lighting to reflect the optimism and dream-like quality of Hollywood. In the opening scene, “Another Day of Sun,” the bright, natural lighting captures the energy and vibrancy of Los Angeles. The use of sunlight streaming through the freeway, casting sharp, defined shadows, sets a tone of exuberance and ambition. The colors are bright and saturated, reinforcing the film’s overall optimistic and whimsical atmosphere.
The color palette is another significant element of cinematography that contributes to cultural representation. “In the Mood for Love” employs a muted, earthy color palette, with shades of red, green, and brown dominating the scenes. This choice of colors not only reflects the period setting but also enhances the emotional depth of the film. One notable example is the use of red in Su Li-zhen’s cheongsam, which symbolizes both passion and restraint, mirroring her internal conflict and the societal norms she navigates. The green hues in the background often symbolize the stagnation and entrapment felt by the characters, contrasting with the fleeting moments of red that signify their hidden desires.
On the other hand, “La La Land” uses a bold, primary color scheme, with vivid blues, reds, and yellows that evoke the energy and creativity of the Los Angeles setting. The planetarium scene, where Mia (Emma Stone) and Sebastian (Ryan Gosling) dance among the stars, is a perfect example. The scene is bathed in deep blues and purples, creating a magical, otherworldly atmosphere. The colors are not just visually striking but also serve to highlight the dream-like nature of their romance and their aspirations.
Mise-en-scène, the arrangement of scenery, props, and actors, further contributes to the cultural narratives of these films. In “In the Mood for Love,” the meticulous composition of scenes, with its confined spaces and strategic placement of objects, mirrors the characters’ constrained lives and unspoken emotions. For instance, in the scenes set in the cramped apartments, the placement of furniture and the narrow hallways create a sense of confinement and societal pressure. The repeated use of mirrors and reflections underscores the themes of secrecy and the dual lives the characters lead.
Conversely, “La La Land” uses expansive, open spaces and dynamic choreography to convey a sense of freedom and ambition, characteristic of the Hollywood dream. In the scene where Mia and Sebastian tap dance at sunset on the Hollywood Hills, the open, panoramic setting symbolizes endless possibilities and the vastness of their dreams. The mise-en-scène here is marked by minimal props, focusing instead on the characters and the expansive, natural backdrop, emphasizing their isolation in their aspirations but also their connection to the dream of Hollywood.
With the finding that came out from analyzing existing films, I created two short scenes as an attempt to demonstrate the impact of cinematographic techniques on cultural representation. I crafted two versions of a short romantic scene, each employing different techniques to highlight cultural differences. The first version used techniques inspired by “In the Mood for Love,” focusing on subtle lighting, muted colors, and confined spaces. The second version adopted the vibrant, dynamic style of “La La Land,” with bright lighting, bold colors, and expansive settings. These experimental scenes illustrated how cinematographic choices influence the portrayal of cultural contexts in film.
The East:
and The West:
The exploration of Eastern and Western cultural representations through carefully curated visual elements highlights the versatility and richness of the romance genre in film. It is a long-standing topic and involves many aspects that is impossible to fully grasp just by a short time research. However, by examining the use of lighting, color, and mise-en-scène in films such as In the Mood for Love and La La Land, we can have a glimpse of how visual storytelling can transcend linguistic and cultural barriers, creating a universal language of emotion and atmosphere. Build on these findings, we can further this investigation of the interplay between culture and cinematography in various genres, ultimately enriching our understanding of global storytelling in cinema.
Reference
Kar-wai, W. (Director). (2000). In the Mood for Love [Film]. Block 2 Pictures.
Chazelle, D. (Director). (2016). La La Land [Film]. Summit Entertainment.
Bordwell, D., & Thompson, K. (2016). Film Art: An Introduction. McGraw-Hill Education.
Elsaesser, T., & Hagener, M. (2015). Film Theory: An Introduction through the Senses. Routledge.
