1. End Sequence
1.1. Cinematography
1.1.1. Mid-shot used to represent sentimental moment where teardrop plays the banjo
1.1.1.1. The fact they are all together makes it seem like this is the only time in the film Ree has support
1.1.2. Camera pans and follows teardrops car down the road
1.1.2.1. Leads us to realising this may be him departing their lives forever - as he has found out who killed Jessup
1.2. Mise-En-Scene
1.2.1. Banjo prop played by teardrop, like Jessup used to demonstrates him as a father figure to Ree now Jessup has gone
1.2.2. Teardrop says the banjo should stay with the family emphasising when he leaves he not return
1.2.3. Baby chicks given to Ashlee symbolising new life and opportunities perhaps to escape Marginalised culture
1.3. Editing
1.3.1. Long takes emphasise the connection between the characters and the realism of the scene
1.3.2. Lack of cuts remove any dramatic element of the scene making it more peaceful and emotional
1.3.2.1. Symbolises fulfilment and completion of story and the finding of a New equilibrium
1.4. Sound
1.4.1. Diagetic audio of playing the Banjo
1.4.1.1. Represents sentimental value of the prop in the family and if played well, or badly, portrays how Teardrop can fluctuate from being a good person to a bad person
1.5. Performance
1.5.1. Jennifer Lawrence embodies the character of Ree suggesting the film has reached its new equilibrium
1.5.1.1. However it is obvious that Ree's quality of life is still poor and she continues to dream of the army and a better life
1.5.1.1.1. Retaining the house is the best she is going to get
1.5.2. The fact that ashleigh plays the banjo at the end, not ree, symbolises that while she has superficially achieved her goals in the film, she is still not free, and has too look after her siblings, so the chance for new beginnings has been passed to ashleigh and sonny
2. Jessups Hand Sequence
2.1. Cinematography
2.1.1. Dark and blue lighting presenting the location as secretive
2.1.2. Camera tracks Ree, as a result our view is restricted as well as Rees, hence we are aligned with her
2.2. Mise-En-Scene
2.2.1. The boa emphasises how the location of Jessups body was never intended to be found
2.2.1.1. The fact that Merab knows the exact location confirms the theory that Thump is involved in Jessups death
2.2.2. Chainsaw and Jessups hand props portray how gruesome the sequence is
2.2.2.1. We feel sorry for Ree having to cut off her dead fathers hands and almost feel what it would be like if we were in that situation
2.3. Editing
2.3.1. Fast paced shots between Ree's hands searching for her dad and shots of Merab
2.3.1.1. Increases intensity of the sequence as Ree feels rushed by Merab
2.4. Sound
2.4.1. Entirely Diagetic sound focusses the audience on the sequence
2.4.2. Chainsaw and water effects portray how gruesome the sequence is
2.5. Performance
2.5.1. Jennifer Lawrence delivers a powerful sequence making the audience imagine what it would be like to be in the same situation
3. Contexts
3.1. Visual style is associated with low budget independant film
3.1.1. Most shot handheld with a focus on character over action
3.1.2. Low 2 million USD budget film
3.1.2.1. Made 6 million at box office
3.2. McDonough is the cinematographer
3.2.1. Shot on digital RED cameras rather than 16mm - 95% is handheld filming
3.2.2. The camera is never entirely settled
3.2.2.1. Often peering around corners and over characters shoulders
3.3. Narrative
3.3.1. Film takes place across a week
3.3.2. Conventional narrative with goal set out at the beginning
3.3.2.1. Quest based narrative in which ree takes on the role of the hero
4. Specialist Study: Spectatorship
4.1. Alignment with a character serves to promote allegiance
4.1.1. Sharing rees path allows us to share the characters values
4.2. Theories of Spectatorship
4.2.1. Read the Carol mindmap for full list of theories
4.2.2. Alignment and Allegiance
4.2.2.1. How is Alignment achieved
4.2.2.1.1. Screentime
4.2.3. Stuart Halls Theory of Spectatorship
4.2.3.1. Preferred
4.2.3.1.1. Audience would see and acknowledge the issues surrounding the reality of hillbilly community
4.2.3.2. Oppositional
4.2.3.2.1. Perceive the hillbilly community as viscious, violent people
4.2.3.3. Negotiated
4.2.3.3.1. Understands the films ideological message
4.2.4. Mass culture theory
4.2.4.1. Argued mass culture has a negative effect on its audience
4.2.4.2. Its ideological reinforcing capitalist values and a fantasy vision of the world
4.3. Are we Active or Passive in Winters Bone
4.3.1. Voyeuristic perspective throughout the film, we feel as if we are there watching ree
4.3.1.1. The representation of marginalised groups is realist, meaning it doesnt conform to a particular way of representing them
4.3.2. Passive
4.3.2.1. Documentary style opening, spectator is almost a voyeaur
4.3.2.1.1. Lack of understanding of Hillbilly culture and community
4.3.3. Active
4.3.3.1. Moral dilemmas are coded into the film
4.3.3.1.1. We impart our own moral understanding onto what happens in the film
4.3.3.2. We align and have allegiance with Ree
4.3.3.2.1. We feel angry when she is beaten up, we have allegiance with her
4.4. We are aligned in order to allow the filmmaker to transmit ideology to us, we can reject this ideology through situated contexts
5. Specialist Study: Ideology
5.1. Ideological Meaning
5.1.1. Brekadown of negative stereotypes of Ozark Mountainous society and politically marginalised groups which are often portrayed negatively
5.1.1.1. Popular culture represents this society as ruthless and criminals, as it is easier to blame a particular group for societal problems
5.1.1.2. The party sequence acts to prove this
5.1.2. Breakdown of traditioal gender stereotypes in this type of society
5.1.2.1. Rees ability to overcome struggles, the use of a quest based narrative an convention normally dominated by men
5.1.2.2. Ree wants to join the army, suggesting this is one of the few opportnunities available to let her escape
5.1.2.2.1. The army controversially targets the poorest areas in america
5.2. Ideological Critical Approaches
5.2.1. Ideological Critical Approaches of Winters bone
5.2.1.1. Feminist Theory
5.2.1.1.1. Ree is represented as a classic hero, which is usually associated with a male
5.2.1.2. Political analysis of Society
5.2.1.2.1. Marginalised Ozark Community 'Hillbilly'
5.2.1.3. Benefits of an ideological critical approach
5.2.1.3.1. Allows us to experience the film with specific messages
6. Opening Sequence
6.1. Cinematography
6.1.1. Lighting remains natural throughout the sequence
6.1.2. Shots of the sky symbolises how Ree wishes to break free from the hillbilly lifestyle
6.1.2.1. Ashlee receives a chick at the end of the film from Teardrop symbolising the opportunity for her to break free as it is unlikely Ree will
6.1.3. Handheld camera gives the film a documentary feel to it
6.1.3.1. Genre: Thriller
6.2. Mise-En-Scene
6.2.1. Shot on location on the Ozark Mountains in Missouri with the landscape dominating the sequence
6.2.2. Frostbitten authenticity of the sequence presents the harsh lifestyle of the Hillbilly community
6.2.3. Ree is not sexualised
6.2.3.1. Laura Mulvey's male gaze theory, Ree is not sexualised hence there is little room for a male gaze
6.3. Editing
6.3.1. Alfonso Cuaron edits the film, he also edited Carol
6.3.2. Slow editing style emphasises the realism of the sequence and helps align the audience with Ree and her surroundings
6.3.2.1. Gives a sense of documenting Ree's life rather than it being a film
6.4. Sound
6.4.1. Non-Diagetic acappella music performed by Ozark musician in the opening sequence
6.4.1.1. Emphasises the gritty realism in the film
6.4.1.2. Traditional local music aligns audience with characters in the ozark as they feel they understand a part of their cultural background
6.5. Performance
6.5.1. We immediatley see Ree presented with a dilemma, alllowing the viewer to be invited into the films deliberate slowness
6.5.1.1. Excaerbates the hunt for her dad, and eventually his dead body
7. Cattle Market sequence
7.1. Cinematography
7.1.1. Handheld camera emphasises Ree's distress and the intensity of the sequence as Ree tries to contact thump
7.1.1.1. Camera is unstable as she runs
7.1.2. Camera frequently positioned angled upward towards Ree and down towards Thump
7.1.2.1. Reflects audiences opinion of the two characters, Ree is a role model and thump is cruel
7.2. Mise-En-Scene
7.2.1. Cattle market crowd is entirely male
7.2.1.1. Indicates Ree is out of place in this society
7.2.2. Ree is positioned on the walkway above thump literally elevating herself above all of the cattle that he controls
7.2.2.1. She walks above him in terms of morality, and doesn't let anyone herd her (cattle are a metaphor of thumps followers)
7.3. Editing
7.3.1. Film connects Ree to the livestock through cuts between her and the animals
7.3.1.1. The cattle moves as she moves and the cattle are distressed as she is distressed
7.3.1.2. Ree is moving against the herd breaking free from traditional female roles in society
7.4. Sound
7.4.1. Overbearing audio both non-diagetic and diagetic
7.4.1.1. The audience feel oppressed by the audio like Ree is by Thump
7.4.2. Indecipherable screams from the cattle, which could be perceived as distressing
7.4.3. Soundtrack speeds up and the scene becomes more intense as Ree starts running and screaming
7.5. Performance
7.5.1. Ree is initially quite reserved but begins to be more frantic as thump begins to get away indicating how dire her situation has become
8. Party Sequence
8.1. Cinematography
8.1.1. House has warm and ambient lighting, looks welcoming with a communal spirit
8.1.2. the camera, often from rees perspective, focusses on the people of the ozark community
8.1.2.1. We are encouraged to watch them from a voyeuristic perspective and subvert traditional stereotypes
8.2. Mise-En-Scene
8.2.1. Old female singer positioned central to everyone including the audience stationing her as a well respected matriarch in the community
8.2.2. Photographs of the family and veterans are on the counters indicating the influence of family and the military on the area
8.2.2.1. Hence proving a lot of people rely on the military as an escape from hillbilly communities
8.2.3. The band is multigenerational ranging from young to old, showcasing the connection between families in this society
8.3. Sound
8.3.1. Sound is all diagetic
8.3.1.1. The music for the party is produced by a communal band emphasising the connective and unified nature of the party
8.3.1.1.1. Positive representation of the hillbilly community
8.3.2. The songs lyrics reference 'sparrows' and the longing for freedom
8.4. Performance
8.4.1. Faces of all the singers, despite singing an upbeat song, are all solemn and contemplative
8.4.1.1. As though the hard nature of their lives are reflected through the song - inability to enjoy themselves