Camera Angles: An Effect on Affect, October 7, 2010

My first paper in British Horror. Erik Bachman said that it was "a promising start to the quarter." I'll hold onto that win forever!

Camera Angles: An Effect on Affect

Director, Val Guest, creates a world that is once again faced with the threat of conquering aliens in his film, “Quatermass 2”.  Throughout the sci-fi horror film, certain techniques are employed to establish inter-film connections to its audience.  When two of the characters first arrive to the scene of paranormal occurrences, the use of a high-angle shot creates a link to a preceding image.  Later on in the movie, when Quatermass involves his detective friend, several film devices are used to establish the point where “the plot thickens.”  In this particular scene there is a shot-reverse-shot sequence in the first person as well as a close up that make this encounter markedly dramatic.  It is with the use of these angles and shot sequences that the characters discover the most disturbing oddities, producing moments that are more noticeable and therefore more meaningful to the viewer. 

When the protagonist, Quatermass, enters his laboratory he and one of his colleagues begin to discuss their plans to colonize the moon.  During their conversation, there is a clear view of the structural model that they plan to build as the two men look down upon it.  Later on in the film, Quatermass and his assistant, Marsh, head to the location of the alleged meteorite landing.  It is here that the audience is presented with a similar image.  When the men arrive, a high-angle shot frames what has become of Winnerton Flats.  Several futuristic-looking large steel domes can be seen beneath them. The shot is filmed from behind the two men displaying their distance from the structure, along with their size relation.  At the same time, the high-angle shot has the effect of making to structure appear smaller than it would be from a different angle.  With the size distortion that this angle projects, the buildings look very similar to the model seen in the laboratory.  Because the view is partially blocked by the men, it is difficult to tell how exact the structure is.  The two men look down upon the “factory” as they would look at their own design to create a sub-atmosphere beyond their planet.  Although Quatermass dismisses the likeness as, “a coincidence of shapes,” an eerie parallel has been drawn.

After Quatermass has confirmed his suspicions of alien life forms, he pays a second visit to inspector Lomax to inspire a government investigation.  He convinces the inspector to bring the matter to the commissioner.  Lomax approaches his superior with an air of respect, but a shot-reverse shot sequence leading to a revealing close-up create instant fear.  The shot originally is aimed at Lomax when something clearly catches his eye. Then, in the first person perspective, the camera closes up on the commissioner's right hand.  He seems to be casually scanning over his reading material, holding a pen between his fingers.  What really stands out in the shot is the, “jagged V,” embedded into the skin.  The shot then refocuses on Lomax’s horrified face, then there is one more close up of the commissioner’s mark.  The dramatic angles and shot sequence signify frightening realization of further infection.  The close up of the hand, a small part of the human body, takes up the greater part of the screen.  The shots of this scene mirror the goings-on within the film; what they thought was infecting a small area may actually be a large-scale invasion.

Although, unlike conventional literature, film does not have the opportunity to describe in great detail what it wants to be seen, several cinematic techniques can be used to convey a deeper context to what may otherwise seem like an unimportant scene.  Music and lighting are often applied in films to set a particular mood or tone.  More subtly however, the way the camera captures a film singles out the most important subject matter.  A simple shift in angle can force the viewer’s eye to the most significant aspects of a story.  In the case of this film these methods emphasize the most paranormal moments, which implies that its intention was to zero-in on, “what the film thought ought to scare you.”