La Haine – DJ Scene Analysis
The famous ‘DJ Scene’ in Matheiu Kassovitz’ La Haine (1996) uses coverage and filming techniques in order to assist in the strengthening of the dynamic relationship between form and content. Particular to this scene, are shots, pans and cinematographic effects employed by Kassovitz in order to accentuate the concept of Fantasy V.s. Reality that is woven throughout the film.
During the first couple of shots, Kassovitz uses low angle shots in order to establish an anxious tone. These low angled shots help encapsulate the curious nature of Hubert within the reality of his room. Kassovits does this by making Hubert seem larger-than life by cutting out the top portion of his room and making him present in a large proportion of the frame. This, in conjunction with the low angled shots, allows an atmosphere of tension and inherent discomfort to be recognized almost immediately.
The idea of tension and anxiety is expressed through other familiar cinematic techniques, so typical of Kassovitz’ neo-realistic film style. Kassovitz’ employment of dolly zooms, camera panning and tilting illustrates the relationships between certain characters and hints at the ideas of observation and oppression that are present throughout the film. Kassovitz’ panning and tilting of the camera is employed to create and accentuate the underlying feelings of tension by showing characters watching each other in a busy community square. These techniques, combined with the establishment of the setting in a bleak ‘banlieue’ of Paris, helps solidify the apprehensive atmosphere for the beginning of the scene.
Kassovitz also uses visual cinematographic techniques as a thematic device in order to express the constant relationship between reality V.s fantasy that presents itself throughout the film. During this scene, Kassovitz uses a DJ that is playing a set from his window to show an instance of passion and integrity blooming from within the bleak reality of the Parisian slum. These nuances are pooled with the use of a ‘flying’ or ‘hovering’ camera; which results in a ‘flying’ effect for the audience. The ‘flying’ feeling that the audience experiences in this moment offers sentiments of transcendence and ethereality within the oppressive environment of the slums from which the characters are trapped in.
Interestingly, the use of filming the DJ from behind correlates to the loss of identity of the characters within the film. However, it could also be argued that the ‘back shots’ of the DJ, combined with the long, ‘flying’ camera shots offers ideas of escapism through artistic expression, which also presents itself regularly throughout the film. Secondly, Kassovitz’ use of deep focus photography during the scene allows him to ‘attach’ the characters to their out-of-focussed background which reflects their inevitable feelings of un-belonging. Escapism is poignantly expressed through the camera offering the audience ‘wings’ for a short time and is also expressed later in the scene as the camera shows Vinz and Saïd wandering the banlieue.
The escapism present within this portion of the scene is made manifest within its surreal content. As the camera encapsulates the characters of Vinz and Saïd, a subtle dolly zoom is employed. This, in conjunction with the reverb of the DJ in the background and the surreal black-and-white filming techniques, offer a dream-like quality to the scene. This fantastical form is complemented by the scene’s content as one of the characters, Vinz, sees a cow in the distance. Due to Saïd ignoring Vinz’ exclamations about the cow, the audience, like during many other instances throughout the film, remain unsure as to whether Vinz’ visions are true or are simply hallucinations.
Ultimately, Kassovitz’ use of camera technique and film style is multifaceted. Particularly, within this scene, Kassovtiz employs particular filming techniques such as ‘flying’ shots, panning and dolly zooms in order to encapsulate day-dream-like qualities. These qualities, when placed in the greater context of the film, help strengthen the relationship between film style and substance; and between content and form.