How the introduction of characters and the directional technique affect the response of the viewers
The film Silence of the Lamb is a horror film directed by Jonathan Demme. It narrates the story of a young FBI recruit as she teams up with a bright but deadly psychopath to catch a brutal serial killer. What captures the attention of the audience is brilliance in the directional technique used for this film which hides disguises to fool the audience. At the surface, the film looks like a straight forward horror/mystery, but after watching it critically, the viewers see it as an intellectual look into the thinking of two serial killers with diverse perspectives. While the introduction of the characters and directional technique used in this film affects the response of the viewers by providing terrifying serial killers, they also offer the most academy-friendly horror movie to have graced on the screens. Don't use plagiarised sources.Get your custom essay just from $11/page
Films are similar to short stories or novels in that they tell a story. They often fall in different genres including thriller, horror, and science fiction, adventure, detective, historical or romantic. Even though films can be analyzed as literature, they are multimedial. They are visual media made for viewers whereby they take command of more of our senses to build a unique atmosphere and also bring out emotions. The introduction of characters is a complex response which consists of many facets, including the identification of characters, empathy, wishful identification, as well as the perceived similarities. The manner in which a character is introduced plays a vital role in the quality of experience of the viewers. In order to enhance the quality of the viewer’s experience as well as the effects of the narrative, it is essential to understand how the introduction of the characters as well as the directional techniques affect the response of the audience.
The first movement of the characters set the tone for the entire film. Viewers often have a memory of the first instance their favorite characters are introduced in the movie. At the beginning of The Silence of the Lambs, Jack, the FBI man in charge of Bill’s case seeks a brilliant young agent, Clarice Starling, to help him with the matter. While Clarice is introduced as an unsure and inexperienced agent, the viewer’s response to the complex and eerie relationship which develops between the Hannibal and Clarice during the interviews. Hannibal is introduced as the most seductive psychopath. The viewers are particularly amazed about how the serial killer has an elegant taste, frosty smile and death’s-head good looks. However, none of these charms Clarice. Instead, she is drawn to the serial killer through his mind, which surprises and pierces her. Hannibal is shown as a brilliant but wicked character as he was reported to be. To the surprise of the audience, Hannibal is not unkind to Clarice even though he sizes her for her accent, expensive bag and cheap shoes and her will power not to look intimidated.
Film viewers identify the story of the movie through the characters. The most effective way to reach the audience is through the emotions of the character. It is only when the audience connects to the feelings of the characters that the interaction of the viewers and the film becomes profound and meaningful. Hannibal is skeptical about the Clarice. He is then amused and finally seduced by her. Clarice is also unique in her way. Even though she is unsure of herself and still in the process of learning and being forced, Clarice is clear-headed to recognize her own limitations. Clarice presents something that is rare in both movies as well as in real life. She has a charm of honesty which draws the audiences love to her.
Most viewers often express their subjective experiences with the film characters in terms of spatial proximity. The viewers often feel close to the characters and might even think they are from their world. A sense of closeness is associated with emotional intense and intimate experience of the engagement of the actors while a sense of distance is linked to lack of affiliation.
Work cited
DeCourcy Hinds, Michael. “Retelling a Psychopathic Killer’s Tale Is No Joke.” The New York Times, 25 Mar. 1990, search-proquest-com.archyway.searchmobius.org/docview/ 108594138?accountif=40896. Accessed 18 November 2019.
Demme, Jonathan, director. The Silence of the Lambs, 1991.
Lehmann-Haupt, Christopher. “The Return of Hannibal the Cannibal.” The New York Times, 15 Aug. 1988, search-proquest-com.archway.searchmobius.org/docview/11046121? accountid=40896. Accessed 20 November 2019.
Miller, Cynthia J. The Silence of the Lambs: Critical Essays on a Cannibal, Clarice, and a Nice Chianti. Rowman & Littlefield, 2017.
Sundelson, David. “The Demon Therapist and Other Dangers.” Journal of Popular Film & Television, vol. 21, no. 1, Spring, 1993, p. 12. Academic Premier, Doi: 10.1080/01956051.1993.9943971