Film Language - 10 Things I Hate About You
...s lyrics are also used extensively throughout the rest of the film, especially to highlight the development of the relationship between Patrick and Katerina. The lyrics of Semisonic's FNT, "I'm surprised that you've never been told before, That you're lovely And you're special And that somebody wants you," are heard by the viewer as the two frolic in the paintball park, symbolising the development of their feelings for one another. Bianca appears in the film sporting an image which could not be further from that of her sister, as she floats across the screen, through the clever use of slow-motion camera techniques, to the soft, non-diagetic strains of a romantic melody. In addition to signifying her feminine image and the desirability of her presence to other students at Padua, the use of this romantic music reinforces the effect that this first sight of Bianca is having on the emotions of Cameron James. Dressed in a pink, "strategically-planned sundress," in sharp contrast to Kat's casual, dark-coloured attire, Bianca strolls gracefully through the school yard, to the envious eyes of her female counterparts, and the admiration of Padua's most sought-after menfolk. Colour and clothing work together, with Bianca's soft, pink-coloured dress used symbolically, to signify her femininity, and perhaps even the extent of her efforts to gain the affection of those belonging to the opposite sex. Thus, the camera work, music, and the symbolic use of colour and clothing in the introduction of Bianca and Katerina Stratford to the viewer, all clearly highlight the position of the two sisters at opposite ends of the social spectrum. Although the company of Bianca Stratford is immeasurably more welcome by the students of Padua High School than that of Katerina, the viewer's response to the two girls is very different. Junger's careful use of camera techniques, together with clever dialogue, positions the favour of the viewer onto Kat, and not her sister, making it possible, therefore, for the value of individuality to be effectively portrayed. The viewer's dissatisfaction in the personality of Bianca is positioned by the director from this very first scene. Bianca feels that she knows "the difference between like and love - because she likes her sketchers, but she loves her Prada backpack." This flippant, somewhat naïve remark, amuses the viewer, but also flares a spark of annoyance at the shallowness of her nature. A few scenes later, the location of the film is shifted from the high school to the home of Kat and Bianca Stratford, as Bianca pleads her need for "a night of teenage normalcy." Kat holds the power over her sister in this scene, as she refuses to let "some unwashed miscreant take her to the movies," and this is reflected in Junger's use of camera angles. As the argument between the two sisters continues, the camera cuts from the face of one girl to the other, always being angled to look up at Katerina, and down at Bianca. This angling of camera shots between those of Kat and Bianca becomes even more striking a little further into the scene, as Kat stands at the top of the staircase, glowering down at her sister, who is speaks to her from the foot of the stairs. The beginnings of the viewer's respect for Kat are forged in this scene through the use of camera angles, and Junger continues to develop this response throughout the rest of the film. By placing Kat in the position of power, the camera places the individual in this position, portraying individuality as a virtue. The positioning of the camera to look down upon Bianca, causes her to seem rather pathetic, weak and immature, in startling comparison to Kat, who appears to be consistently cool, collected and in control - a personality of far greater substance than that of Bianca - and the viewer is positioned to admire her independence and individuality. Junger is thus successful from the very opening of the film, in gaining the respect of the viewer for the character of Katerina Stratford. The theme of individuality underlies the entire story of 10 Things I Hate About You, and this sort of camera work is used extensively by the director in its presentation and portrayal, with the camera angled consistently up at Katerina. There is only one person who threatens to undermine her individuality, causing her confidence to waver, and that is Joey "Eat Me" Donner. Joey is the only one of whom Kat has any fear, and Junger's angling of camera shots is symbolic of this. As Joey mocks Katerina at Bogey Launceston's party, the camera is angled up towards him, and uncommonly down at Kat, placing him in the position of power, and her in that of vulnerability. Patrick Verona, in fact, is the only person who seems to be capable of swaying Joey's supreme confidence in himself, with the camera tilted up at Patrick, and down at Joey, who appears to be rather flustered by the entire conversation. At the end of the film, however, individuality conquers over unquestioning conformity, as Bianca "beats the hell out of Joey," and this is once again signified by the director through the use of camera work. In the last scene shared by Kat and Bianca, on the front porch of their home, the camera is for the first time angled up at Bianca and down on her sister, clearly and cleverly symbolising the value of individuality. Through the duration of the film, Bianca has found herself, found maturity, and discovered that "she doesn't always have to be who they want her to be," and the development of her relationship with Cameron is symbolic of this. Kat, in contrast, has lost a little of her fierce individuality, signified by a close-up camera shot showing the raw emotion on her face as she recites her sonnet to the class and also through the non-diagetic music heard behind this scene, Even Angels Fall. This great change in the personalities of each of the girls is symbolised by the director through the reversal of the camera angles to look up at Bianca and down on Kat, symbolising the reversal of roles between the two sisters. Bianca has gained independence and individuality, and in doing so, has gained the upward camera angle, and thus, the position of power in the scene. In this way, the value of individuality is effectively highlighted. The somewhat controversial issue of single parenting also features strongly in the film 10 Things I Hate About You, presented and portrayed by the director through the character of Walter Stratford, single father to Bianca and Katerina. Although Mr Stratford acts as the comic relief throughout the film, the underlying issue is really quite serious, and is by no means lost to the viewer through its humorous presentation. Camera angles and techniques are once again used by Junger in the effective positioning of the viewer's response to Walter Stratford and thus the issue of single parenting in the film. The issue is first ...