Work in Zootopia
|Topics:||🎞️ Film Analysis, Police, Social Inequality, Teamwork, 📽️ Film Review, 💣 Work Ethic|
The first element that is related to work is lighting. Lighting is very important since it builds into aspects such as themes, time frames, mood, and relationships. Lighting manifests in multiple ways to bring out different elements required in the film (Chao, Du, Wagenheim, & Rippey, 2014). There is the fill light that is meant to blend the contrasts within the film, and there is the key light that is meant to either brighten or create a shadowy effect for the movie. There is also the combination of both low and high key lighting to bring out a contrast in the filming space. Moreover, there is the backlighting that is used to illuminate the subject from the back. In Zootopia, the lighting plays a significant role in work. The center of the work focuses on police duty and the need to maintain peace in the society. A fox, named Nick, uses his talent in sales to make money without paying taxes. He is forced to work with Judy, an efficient member of the law force into catching an infamous criminal. In this case, the Backlighting is used to create suspense when there is a fight between the law and the criminals. The suspense is created in that the subject is barely visible, only the form is laid out. The low-key lighting, on the other hand, is used to show the dominance of crime. Criminals tend to hide out in dark areas where the authorities cannot catch them. In this case, when such an area is filmed, the audience feels the chills that come with the possibility of evil and crime. The high key lighting is very predominant in the film. It effectively communicates tranquility and a state of normalcy among the inhabitants of Zootopia.
The second element is costumes. Individuals like Judy that work in the police force have different uniforms to indicate their jobs and the ranks that they possess. When she was training, she had to dress like a student whenever she was in the training fields. Individuals like Nick who work in their own illegal business have multiple disguises that reduce the risk of them being caught by the law. His partner often dresses like a baby in their scheme to manipulate people into bending into their will. There are also very affluent people in the city that own their own businesses. They are efficiently dressed to communicate class and zeal to get more affluent in the society. Lastly, there is the middle class of that society that work day jobs in institutions like the bank. We find a sloth dressed in casual office wear as he proceeds with his work as a teller. Chao et al. (2014) assert that the costumes are mostly meant to create bridges between different occupations, the socio-economic classes, and power influence within the community.
The major theme, in this case, is friendship. We find Nick and Judy becoming friends irrespective of their differences. The only way that their friendships are shown is through their plights to fight crime and to catch Mr. Otterman. Judy needs to keep her job while Nick needs to clear his name after he confesses to all the crimes that he commits against the community. In their friendship, they fight and fall apart. In this case, the dominant lighting is the low key lighting and a blend of both low key and high key lighting (Buckland, 2016). Such lighting is primarily meant to communicate loneliness and an emotional shift from what the audience thought was a beautiful friendship growing to a situation where each party wants nothing to do with their counterparts.
In conclusion, the elements that relate to work in this are lighting and costumes. The fill light blends the contrasts within the film while the key light either brightens or creates a shadowy effect for the movie. The backlighting that is used to illuminate the subject from the back. Regarding costumes, individuals like Judy wear different uniforms to indicate their jobs and the ranks that they possess. In this film, the major theme is friendship. Though Nick and Judy have differences, they still became friends.
- Buckland, W. (2016). Mise en Scène and film style: from classical Hollywood to new media art. New Review of Film and Television Studies, 14(2), 295-298.
- Chao, J. T., Du, T., Wagenheim. C. P., & Rippey, T. F. (2014). Mise en Scène: A film scholarship augmented reality mobile application. Interdisciplinary Journal of Information, Knowledge, and Management, 9, 19-30. Retrieved from http://www.ijikm.org/Volume9/IJIKMv9p019-030Chao0498.pdf