The purpose of this analysis is to draw comparisons between the use of mise-en-scene in Baz Luhrmann’s Strictly Ballroom(1992) and the popular Kath & Kim(2002-2007) television series by Jane Turner and Gina Riley and how they present Suburbia. Both texts can be categorised as comedy, with elements of a ‘mockumentary’ style, however, as one belongs to film and the other to television, it will be interesting to note how design aspects such as, costuming, set design, props, lighting, acting style and framing (or camera blocking) differ between the two mediums and what effects these elements produce.
Costuming is arguably one of the most important elements of mise-en-scene for both Strictly Ballroom and Kath & Kim. Both being comedy, it is clear that costuming is a device used to create humour and satirise lower to middle class suburban Australians. However there are significant differences between both texts.
The characters ‘Kath’ and ‘Kim’ are both dressed according to what reflects their socio-economic and cultural background to highlight the suburban stereotypes they are satirising. ‘Kath’ is middle-aged mother somewhat stuck in the 80’s with her ‘frizzy perm’, shoulder pads, espadrilles, sequins, Australiana earrings and animal print cardigans while ‘Kim’ is a 27 year old unemployed housewife/new mum obsessed with celebrity trends, cosmetics, imitation Tiffany’s jewellery, hipster pants, g-strings, multi-coloured nail polish and printed ‘hoodies’ and tracksuit pants. The character ‘Kel’ is also dressed in a humorous way with grey leather jackets and zip-up loafers, a slicked and shiney comb-over hair style, 80’s polo shirts and short fluorescent power walking shorts and hat. This caricature-like costume design also occurs in Strictly Ballroom.
The glossy, highly-saturated colours and exaggerated costuming of ‘Shirly Hastings’, ‘Liz’ and ‘Barry Fife’ reflect the identities involved in the suburban Ballroom dancing sub-culture in Australia but also highlight the artifice and superficiality of these characters. What is interesting to note is the use of costuming to narrate and signify the development or blossoming of the character ‘Fran’. She begins in the film with no make-up, dowdy or daggy gym tights and socks with over-sized glasses and unflattering t-shirts, moves to more form-fitting dancer body-suits and flowing long skirts or dresses, to finally her peak point or climax in confidence wearing a vibrant red Spanish Ballroom gown with styled hair and make-up. Where costuming is used to trace the growth of ‘Fran’ in Strictly Ballroom, it is perhaps only used for comical relief and reflection of Suburbia in Kath & Kim as these characters do not change or go through any immense personal development and struggle. This can also be accounted for in the use of lighting, set design and props.
Kath & Kim shot mostly in a ‘Fountain Lakes’ house uses very natural lighting and placement of furniture & props to reflect the environment typical of a suburban Australian home. The televisions, couches, gym equipment, appliances and bedroom layouts are all realistic to provide a sense of verisimilitude for the audience so they can identify with the characters. While this is initially the case with the opening of Strictly Ballroom, with documentary style interviews in the family home and dance studios with ‘Shirley’, ‘Les’ and ‘Liz’, the lighting and sets then becomes more ‘cinematic’ and moody to reflect the different stages of development. Initially the lighting is harsh, colourful and theatrical towards the superficial characters and during the dance competitions to capture the excitement and artifice, but becomes softer or gentle with warm filters and shadowy silhouettes during the more intimate moments between ‘Scott’ and ‘Fran’. This is also represented by the distance away from the dance studios at Fran’s humble shop-residence. Finally at the end of the film, the two protagonists are spot-lighted and illuminated to represent their joy and success, and the resolution of the narrative.
Framing and camera blocking are naturalistic in Kath & Kim to keep consistent with the mockumentary/fly on the wall style voyeurism that it provides audiences. It has minimal high or low angles, with many wide and medium shots, along with tracking shots to signify that these characters are on-par with the audience, no better or worse and non-threatening. In contrast, the framing and blocking in Strictly Ballroom is immensely theatrical and exaggerated. The low angle shots of ‘Shirly’ when talking to ‘Fran’ and ‘Barry Fife’ represent their dominance and power in the conflict, the close-ups of ‘Liz’ and ‘Tina Sparkle’ reflect and emphasise their melodramatic tantrums and the tracking shots of ‘Scott’ reflect his personal movement and search for identity, self-expression and resolution.
It could be argued then, that in film, and certainly in the case of Strictly Ballroom, that mise-en-scene is employed to reflect narrative development of characters and plot whereas it is used in television to create a familiar environment and easily identifiable characters to keep consistency in a longer format and medium.
