Feature 05

a b ov e   Figure 1. We maintain close proximity

to Nina when she is walking. Black Swan (Aro-
nofsky, 2010)

Creating Interiority in Darren

Aronofsky's Black Swan: An Issue of
Composition, Space, and Visual
Distortion
By Alice Vignoles-Russell
keywords: production design, mental illness on-screen, representation, composition,
cinematography, spectatorship, interiority
Darren Aronofsky ’ s B lack Swan (2010), tells world of the film everything is as real to the viewer as it is to her.
the story of Nina (Natalie Portman), a ballet dancer who suffers In Black Swan, the viewer is not necessarily required to differentiate
a psychological breakdown when she buckles under the pressure between reality and delusion; the value of the film is that the viewer
of performing the dual role of the Black and White Swan in can experience Nina’s perspective.
Tchaikovsky’s Swan Lake. The film’s successful realization of Nina’s This article will discuss how interiority on-screen can be achieved
interiority sets the film apart from other films depicting mental illness. through the consummately subtle and consistent manipulation of
What is interiority in the filmic environment? Interiority is when composition, space, and visual distortion, and argues that this has
the subjectivity of a film’s protagonist is projected onto the world been best achieved, to date, in Black Swan. The following will break
in which the narrative exists. In this definition, a film that achieves down the visual aspects of the film’s technical realization that bridge
interiority is a film where it is the altered or alternative perspective of the gap between the subjectivity of the viewer and the protagonist
the protagonist that is shown on-screen as opposed to the perspective and allow the viewer to accept the protagonist’s perspective enough to
of society in the real world/the world of the film. This is not to be experience her interiority.
confused with the simple representation of a mentally ill protagonist In order for this to happen, it is necessary for the viewer to align
on-screen. What sets Black Swan apart is that we do not simply witness their subjectivity with that of the protagonist. It could be argued that
Nina’s psychological breakdown, we experience it with her. Black Swan this is not possible; we cannot take on another person’s, especially
is an example of a film where the effects of the protagonist’s mental a fictional person’s, subjectivity. That is not what is required. To
illness and her interpretation of the events going on around her are experience interiority we need only share a character’s perspective,
solely what is seen by the viewer. There is no stylized shorthand at a fragment of subjectivity. Subjectivity, although a process of
play to mark the effects of Nina’s experience as delusional. In the individuation, is effected and constructed from an individual’s

32 Film Matters Fall 2015

Feature 05 Creating Interiority in Darren Aronofsky’s Black Swan

In this definition, a film that achieves interiority is a In recent years, mental illness has become
much more discussed and understood in
film where it is the altered or alternative perspective mainstream society.2 Because film allows
us to examine and learn from situations
of the protagonist that is shown on-screen as opposed outside our own experiences in a safe place,
to the perspective of society in the real world/the it can be a powerful tool to make difference
or “otherness” more understandable and
world of the film. ultimately acceptable. This has resulted in
mainstream success for films that provide
social and shared experiences in the world. assigning the perspective of the story to an immersive first person look at mental
When we discuss film we are discussing the the owner of the voice and providing a disorders that were able to show, rather than
suspension of disbelief, allowing ourselves literary translator to mediate the audience’s tell, the point of view and interior experience
for that moment to live in the world of the understanding (Karlyn 60). However, due to of their characters. Since society’s attitude
film, hence we are socialized within that increasing exposure to film, television, and toward mental illness changed in the 1990s,
world, and parts of our own subjectivity video content, modern audiences have a films playing on the understanding that the
can adapt to this. In the case of Black greater ability than the generations that went viewer is prepared to accept a subjective
Swan, a relationship is developed with the before them to interpret visual narrative.1 reality and relate to it began to be made in
protagonist, Nina, and her perspective is Thus, the first person narrative can be and greater frequency, making steps toward a
shared with us. If we can assimilate her should be comprehended through what successful interior narrative. For example,
perspective, interiority is realized. is on-screen, without the interruption of Fight Club (Fincher, 1999), Donnie Darko (Kelly,
Black Swan is one of few films that present a literary translation through voiceover, 2001), A Beautiful Mind (Howard, 2002), The
a mentally ill woman as the protagonist. demonstrating the preferred mode of film Machinist (Nolan, 2004), Inception (Nolan,
Until recently, most films that centered on as an art of showing, not telling (Branigan). 2010), and Black Swan each contributed new
issues of mental illness looked at the subject Likewise, the modern filmmaker must be techniques and approaches for dealing with
of the illness from the outside in, projecting able to manipulate the art form well enough interiority on-screen.
society’s norms onto the character instead to sustain the visual representation of the Black Swan made a significant contribution
of depicting the subjective experience of subjectivity of a first person narrative to this development. The director, Darren
the character in society. Films like Adrian throughout a film, even if that subjectivity Aronofsky, had approached the theme of
Lyne’s Fatal Attraction (1987) depict the differs from a normative view of the world. mental illness in films previously in Requiem for
character in an impersonal third person What sets Black Swan apart from other films a Dream and Pi (1998), but Black Swan shows a
narrative where we can observe the character that have attempted to represent interiority markedly more subtle and sophisticated way
within, but at odds with, normal society is that the film manages to sustain the of expressing the interior experience. In both
so that their perspective is never seen or protagonist’s perspective and interiority from Requiem for a Dream and Pi, the heavily stylized
understood. Other examples, such as James beginning to end with no interruption. realization of the films flagged mental illness
Mangold’s Girl, Interrupted (1999), show the
viewer multiple mentally ill characters in
the subculture of the asylum where they are
in the majority, but the interpreter of the
film remains connected to normal society
because the story is told in the past tense
after recovery or the protagonist is not
truly or permanently mentally ill. Finally,
there are films where normal life and
mental illness coexist, but the instance of
mental illness is flagged as delusional, using
exaggerated stylistic technique; either by
using a flashback/dream sequence that has a b ov e   Figure 2. We see Nina face on when she
a completely different filmic quality or the is looking away. Black Swan (Aronofsky, 2010)
objects of delusion are designed to be overly
stylized or even caricature – Requiem for a
Dream (Aronofsky, 2000).
By objectifying these characters, an
opportunity has been missed to overcome
the boundary between the viewer and the
film’s protagonist. Cinema, more than any
other art form, has the power to unite the
subjectivity of the viewer and the film’s
interpreter (Silverman 21). However, film
has been slow to realize its full potential to
provide an immersive first person narrative.
a b ov e   Figure 3. Nina has no lines in this scene
The voiceover has often stood in as a proxy but is present in the throughout.
for first person narrative in film, a way of Black Swan (Aronofsky, 2010)

33 Film Matters Fall 2015 ➜

Feature 05 Alice Vignoles-Russell

development and breakdown. Both are

young, attractive women who have difficulty
coping with sexuality. In both cases, the films
suggest that repression/rejection of sexuality
leads them to their violent, devastating
breakdowns. The films share themes of male
sexual power over these women; in the sexual
advances of Nina’s choreographer and
the violent, repeated rape and molestation
of Carole. But the films have a distinctly
different dramatic effect on the viewer.
Repulsion in many ways provides a voyeuristic
look at Carole, whereas Black Swan allows
the viewer to share Nina’s breakdown with
her. This significant difference is in how the
viewer’s gaze is directed with the surrogate
eyes of the camera, which directly affects the
a b ov e   Figure 4. Carole is seen from across the perspective assimilated by the viewer.
street. Repulsion (Polanski, 1965) The first compositional difference between
the shooting in Black Swan and Repulsion that
stands out is how space and perspective from
the subject to the camera’s eye to the viewer’s
eye is related through the screen; first of all,
on a basic level, if we consider how Nina
becomes the camera’s subject in comparison
to how Carole is shown. In Black Swan, a tight
proximity to Nina is seen from the first shot
after the prologue until the end of the film
(Figure 1). Repeatedly, we see Nina as though
we are standing beside her or facing her
front on (Figure 2). When we are not looking
directly at Nina, her close presence is known
within the mise-en-scène on the edge of the
frame (Figure 3). The camera never leaves
Nina as she is involved in every single shot in
her story.
a b ov e   Figure 5. Carole is seen from the bot- Contrary to this, Repulsion’s ability to
tom of the bed at an elevated angle. Repulsion align our subjectivity to Carole’s is thwarted
(Polanski, 1965) by the insistence of the objectifying male
gaze within the film. Carole is frequently
throughout the film and thus obscured the Black Swan has been compared by framed as a wide to medium shot or a
audience’s ability to relate to the characters. filmmakers and critics alike to the work of depersonalizing extreme close-up throughout
These obvious visual cues for mental illness Roman Polanski, specifically Repulsion (1965) the film. In quite literal terms, we as viewers
effectively increase otherness and encourage (Fisher and Jacobs 1). Although Repulsion is an watch Carole from across the street (Figure
the viewer to objectify the protagonist. early attempt at achieving interiority, it fails 4), we stand on the other side of the room
The contrast between the stylized montage to do so. The differences between Repulsion or at the foot of her bed while she suffers
sequences and the psychedelic hallucination and Black Swan demonstrate how the delicate (Figure 5). Often we see her body as a sexual
sequences of Requiem for a Dream are in manipulation of filmic techniques in Black object through the camera when her breasts,
complete contrast to the approach used Swan makes the interior narrative succeed. legs, or waist are composed as the focal
in Black Swan. Black Swan succeeds in its Black Swan and Repulsion can be easily point of the image, a body without a head
ability to fluidly knit together the moments compared for their similar thematic issues. (Figure 6). The distance between the camera
of delusion and the overall visual style Nina in Black Swan and Carole in Repulsion and Carole as its subject creates a sense that
throughout the film. This approach renders both experience a similar psychological the viewer is following Carole without her
the moments where delusion does happen
much more plausible and creates a sense Because of the fine detail and intimacy film can
of what the protagonist believes to be
happening for the viewer. This allows the afford us, we are allowed to see both the sincere
viewer to assimilate the protagonist’s state of introverted expression and the moments of extrovert
mind. One of the ways Black Swan is able to
achieve this is by its subtle and controlled use performance and interaction that a character goes
of the camera as the eyes of the protagonist
and the viewer. through.

34 Film Matters Fall 2015

Feature 05 Creating Interiority in Darren Aronofsky’s Black Swan

Once Black Swan achieves an emotional alignment to claim the story as their own and build a
relationship between viewer and protagonist
between protagonist and viewer through these that is strong enough to accept the
protagonist’s subjectivity as their own. This is
techniques, there is an opportunity to knit interiority precisely what Black Swan does.
into the film’s narrative. Once Black Swan achieves an emotional
alignment between protagonist and viewer
knowledge or permission. Just like the real or and spatial closeness with the protagonist, through these techniques, there is an
imagined men who torment her at night, we the filmmaker is allowing more emotional opportunity to knit interiority into the film’s
are stalking her, uninvited and unwelcome closeness with the protagonist. Similarly, the narrative. In tandem with the growing
in her world where she wants to be alone. In protagonist must be on-screen consistently relationship the viewer has with Nina, her
effect, we are made even more complicit with
these men when the narrative flow is often
diverted away from Carole, toward the men
in the pub, discussing her in extended, crude
sexual banter.
Following on from this is the issue of
eye-line as a proxy for eye contact. In Black
Swan, we are consistently at Nina’s eye level,
which reinforces the sense that we are with
her instead of looking at her. When we see
her face it is front on, filling the frame. When
she looks away, we can always see her eyes,
expressive and engaged with emotion. Direct
gaze is a powerful filmic device to expose
inner, truthful thoughts and feelings (Figure
7) (Rothman 69). Because of the fine detail
and intimacy film can afford us, we are
allowed to see both the sincere introverted a b ov e   Figure 6. Carole’s breasts are given as
much focus as her face. Repulsion (Polanski, 1965)
expression and the moments of extrovert
performance and interaction that a character
goes through. What Black Swan does is
consistently allow us to see these intimate
moments throughout the film.
Repulsion does not offer us the opportunity
of eye contact with Carole. Repulsion utilizes
elevated and extreme low angles to see
Carole’s face, as if we are looking down
at her. Her head tilts, her eyes look down,
and when we can see her face, we are not
granted access to the sincere moments
of her introversion because her eyes have
disengaged with us. Her direct gaze is not a b ov e   Figure 7. Nina’s face shows emotion
clearly on camera. Black Swan (Aronofsky, 2010)
open to us and as a result we cannot connect
with her or read her sincere expression.
In many shots her eyes are completely
shadowed (Figure 8). Quite simply, there is a
lack of connection between the viewer and
the protagonist that disturbs the audience’s
ability to comprehend her perspective.
The eye of the camera is essential here.
The camera is our proxy for our involvement
in the story and ability to align our
subjectivity with that of the protagonist, the
success of which depends on how our eyes
relate to the subject on-screen. In real-life
body language, proximity is a key factor in
intimacy. We naturally share a more intimate
space with those we align ourselves with.
Likewise, we make eye contact more openly
with those we relate to (Argyle and Dean
a b ov e   Figure 8. Carole’s eyes are shadowed
293). In allowing the viewer more openness and hidden. Repulsion (Polanski, 1965)

35 Film Matters Fall 2015 ➜

Feature 05 Alice Vignoles-Russell

(Carpenter, 1978) (as described in the

documentary film The American Nightmare
[Simon, 2000]). However, in the context
of slasher films, the vicarious point-of-view
shot is used to play on the aversion of the
viewer to an “other,” monstrous antagonist,
as the viewer experiences the violent acts
of the antagonist in the first person, while
remaining emotionally aligned to the
innocent protagonist. Point-of-view shots
in Black Swan help the viewer emotionally
align themselves with Nina by initially
acting as a tool to illustrate her perception
of the distressing moments she experiences.
The only time point of view illustrates
any violent acts by Nina takes place long
after the viewer has been aligned to Nina’s
subjectivity. From the beginning of the film,
a b ov e   Figure 9. Nina and her Double are seen to-
the combination of Steadicam and point-
gether for the first time. Black Swan (Aronofsky, 2010)
of-view techniques capture Nina’s interior
experience. These shots also succinctly
breakdown comes to a head slowly, giving techniques to allow the narrative style of communicate the world of dance, so crucial
the viewer time to immerse themselves in the film to fluidly mesh with the elements to the construction of the film’s microcosm,
her subjectivity. Again, the success of this of the film that were not in line with the so that the physical exertion of her art and
endeavor is down to the cinematography viewer’s standard expectations. Libatique the stakes of her world are clear. Prime
and visual coherence of the film. Handling consistently mimics Nina’s gaze and motion examples of the point-of-view shots are the
the issue of hallucinations on-screen with the camera with point-of-view shots dizzying series of pirouettes Nina performs
requires subtlety in a film’s realization; and handheld and Steadicam tracking in while LeRoy barks at her and the tracking
simply deciding to incorporate hallucinatory the film. Although handheld shooting and point-of-view shots where we can see what
sequences in a film, otherwise rooted in Steadicam, inexpertly done, can disturb the Nina is seeing and what she’s doing in the
classically executed film techniques, would viewing experience, in Black Swan it enhances mirror. These are emblematic of her life as
not be conducive to creating interiority. it. The point-of-view shot is an established a dancer, but also foreshadow the pressures
To this end, the cinematographer, filmic shorthand for vicarious experience of the perfectionism that drives her to self-
Matthew Libatique, used a range of different commonly used in slasher films like Halloween destruction.
The first instance of Nina’s hallucinations
demonstrates the dramatic effect created
by Libatique’s use of point of view and
Steadicam simultaneously. Nina is seen on
her way home, exiting the subway, walking
toward an exterior corridor. At this point,
we are seeing her through Steadicam; the
characteristic shake is gentle and perfectly
in rhythm with Nina, it does not distract but
rather enhances the viewer’s sense of her
walking. As we look up the hall with her in
a point-of-view shot, we see a figure dressed
a b ov e   Figure 10. Nina and her reflection are
in black. As the figure approaches and Nina
both seen with focus given to the reflection.
Black Swan (Aronofsky, 2010) moves forward, we continue to move along
with Nina in rhythm with her. Already we
have a sense that we are acting as Nina. Then
suddenly we change to a point-of-view shot
from the other person where Nina is seen
as small and diminutive and we move with
them. Just as this happens, we cut back to
Nina’s view and realize that the person in
black looks exactly like Nina (Figure 9). This
effectively enables the viewer to experience
Nina’s viewpoint while already planting the
idea of the Double, not only as a motif, but
also as an uncanny persona that we are also
a b ov e   Figure 11. A shot that appears to be of
granted access to. The subtlety and realism of
Nina but is actually of her reflection. Black Swan
(Aronofsky, 2010) this sequence promotes a sense of unease in

36 Film Matters Fall 2015

Feature 05 Creating Interiority in Darren Aronofsky’s Black Swan

We can conclude that the technical

realization of Black Swan facilitates the
viewer’s ability to adopt the perspective of the
protagonist and the experience of interiority.
This is achieved in Black Swan through
portraying the protagonist as a subject, not
an object, by manipulating composition and
proximity and using visual motifs that play on
the viewer’s subconscious fears. Once this is
achieved, it is possible for the viewer to accept
the protagonist’s interiority.
By successfully realizing interiority on-
screen, film as a medium can finally portray
mental illness without objectification while
also exploring an underdeveloped mode
of visual storytelling. By manipulating the
a b ov e   Figure 12. Nina’s reflection begins to
take on a life of its own. Black Swan (Aronofsky, viewer’s subjectivity and achieving interiority
2010) on-screen, as we see in Black Swan, the
filmmaker has an opportunity to fully realize
the viewer empathetic to Nina’s own feelings, seem to be a portal to another world. All the power film has to unite object and
rather than an assertion of her mental illness. of these visual distortions are explored and subject. Black Swan has successfully realized
As the plot progresses, the intensity and manipulated to enhance the experience of interiority through subtle and masterful
frequency of the point-of-view shots increase. interiority throughout Black Swan. First of all, control of narrative visual storytelling.
Although there are many factors other than consider the use of mirrors in the bathroom /end/
camera work that contribute to the successful when Nina begins to notice that she is
realization of interiority in the film, this developing a rash. We are barely conscious
example illustrates the subtlety of artistic of the fact that we are actually looking at a Works Cited
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\ The Red Shoes. Dir. Michael Powell. Perf. Moira Notes
Freud, Sigmund, David McLintock, and Hugh Shearer, Anton Walbrook, Marius Goring. General
Haughton. The Uncanny. New York: Penguin, 2003. Film Distribution, 1948. Film. 1. Due to the increasing penetration of film and
Print. \ video media into daily life since the mid-twentieth
\ century and its exponential increase since the

38 Film Matters Fall 2015

Feature 05 Creating Interiority in Darren Aronofsky’s Black Swan

advent of the Internet, it is necessary to develop

visual literacy to participate in society (Croteau
and Hoynes). Cognitive science and neuroscience
have proven that early and increased exposure to
visual media enhances the brain’s ability to perceive
meaning in narrative visual media both intellectually
and emotionally. As a result, there is a greater

➜
capacity for visual literacy and comprehension
in society, as whole and visual narratives can be Author Biography
interpreted more efficiently (Smith). Alice Vignoles-Russell is a first-class
2. For example, there was a significant increase honors graduate of Design for Stage
in the number of clinically treated and diagnosed and Screen. Her dissertation won
psychological problems throughout the 1990s. IADT’s Thesis Award for Academic
Excellence. She is currently working
At this time there was also a move toward
as an Assistant Art Director in the film
deinstitutionalization of the mentally ill that and television industry. She continues
resulted from the availability of effective drug to pursue research interests in design,
treatments. Effectively, this change in social representation, and feminist film theory.
policy toward community care and a reduction in
social stigma toward mental illness made mental
illness more visible, recognized, and discussed in
mainstream culture. See Appignanesi 2–9.
Mentor Biography
Elaine Sisson is Senior Lecturer at
Institute of Art Design and Technology.
She wrote Pearse’s Patriots: The Cult
of Masculinity at St. Enda’s (Cork
University Press, 2005) and, with Linda
King, essays on Irish design history:
Ireland, Design and Visual Culture:
Negotiating Modernity 1922–1992 (Cork
University Press, 2011). She co-founded
the Graduate School of Creative Arts
and Media, offering taught doctorates for
creative practitioners. Research interests
include modernism and design, and the
phenomenology of acting.

Department Overview
The National Film School at the Institute
of Art Design and Technology offers
graduate and postgraduate training
in courses related to the film industry,
including filmmaking, production,
animation, modelmaking, and visual
communications. As part of the National
Film School, the BA Design for Stage
and Screen is the only degree course
in Ireland to offer training in costume
design, production design, and make-up
and prosthetics design.

39 Film Matters Fall 2015 ➜

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