Research Point: Imagery and Symbolism

Following my study of the opening scenes of Oliver Stone’s Platoon (1986), I was keen to look further into how imagery and symbolism can be effectively used as a storytelling tool.   As discussed in my earlier research, I believe screenwriting relies heavily on ‘showing’ the story as opposed to ‘telling’ it to the audience.

Sam Mendes’ American Beauty (1999) is rife with imagery and symbolism throughout.  In comparison to the amount of information ‘shown’ and ‘suggested’ to the audience through imagery and symbolism, there is relatively little dialogue.  The iconic ‘rose petal’ scene uses the falling of the coloured petals to juxtapose the innocence and sexuality of youth.  Danny Boyle’s adaptation of Alex Garland’s The Beach (2000) is also a great example of how symbolism and imagery can work well to tell difficult stories.  The scenes that see Richard’s madness progress make use of computer game technology to signify his detachment from society. 

Smith (2010) suggests that, "Words can communicate at one level. But if you want to reach down into a person's soul or touch an audience in a profound way, you need to use Symbols, Images, and Codes".  Justeffing.com (2008) speak further of ‘image systems’ and idea of incorporating a recurring theme of symbols to given further depth to the story.  For example in M. Night Shyamalan’s The Sixth Sense (1999) used the colour red to portray the supernatural.  In other films a particular item or temperature may appear in scenes in order for the writer and audience to ‘link together’ the ideas. 

Of course, in simpler terms, it is possible to use shots of a remote village to very quickly give the audience the impression of a desolate place, shielded from the world.  The reoccurring representation of a familiar item such as a jumper or ball, could indicate many different things depending on the crux of the story.