The Graduate

1. The Graduate

2. Social Context • 1960s USA: a period of change • Transition between conservative 50’s and radical 1970s • Vietnam War 1961 - 75 • Radicalised American youth - vets and draft resisters • Youth culture and distrust of adult world

3. Cinematic context The “Old Hollywood” • domination by traditional studios: MGM, Fox, Paramount, RKO, Warner Bros Vertical integration: owned production, distribution and exhibition (cinemas)

4. Cinematic context Post-WW2 decline of Hollywood • “Paramount Case” 1948 - US Dept of Justice forced end to monopolistic practices - studios had to sell their cinemas • Post-war shift to suburbs • Baby boom • Rise of television • Enormous drop in cinema attendance - gradual decline of whole Hollywood Studio system

5. Cinematic context 1950’s - 1960’s; period of uncertainty as Hollywood tried to come to terms with new situation Attempt to compete against TV by increased use of colour, wide-screen etc Some successes but by 1960s Hollywood losing touch with audience, esp youth audience

6. Cinematic context “New Hollywood” (aka “post-classical Hollywood”) Brief period after 1967 • Bonnie and Clyde, The Graduate - (perhaps most “zeitgeisty” of the films of this era) • The Graduategrossed $100m+ to make it one of top 5 films in decade This period over by 1980 (Heaven’s Gate)

7. Cinematic context New generation of young, cinema-crazed filmmakers (“baby boomers” coming of age) came to prominence in US, drastically changing not only way Hollywood films produced but also kinds of films made. • Influence of “auteurism” and French Nouvelle Vague • Studio chiefs gave their head - including final cut

8. Cinematic context Changes in censorship arrangements “Hay’s Production Code” coming to an end by 1966 - had established from 1930’s what films allowed to do and not to do eg couple on a bed (even married) - one foot on the floor No “lascivious kissing”, no miscegenation 1968 - new certification system introduced The Graduate in between - more daring but still studio restrictions (Mrs Robinson’s “nude” scene - done with almost subliminal speed)

9. Cinematic context “New Hollywood” coming to an end by 1975 (JawsStar Wars), 1977 • unprecedented box-office success jumpstarted Hollywood's blockbuster mentality • effectively ending New Hollywood reign of smaller, idiosyncratic, stylistically adventurous films films. eg Chinatown, The Last Picture Show,The Godfather, Taxi Driver, Mash, American Graffiti, Dog Day Afternoon

10. Cinematic context Ultimate demise came after a string of self-indulgent films which failed at box-office • eg New York New York (1977); Popeye (1980) • then financial disaster of Michael Cimino’s Heaven’s Gate(1980) which bankrupted United Artists and resulted in its sale to MGM

11. Mike Nichols (b. 1931) • As well as The Graduate, most prominent films: Who’s Afraid of Virginia Wolf (1966), Carnal Knowledge (1971), Silkwood (1983), Working Girl (1988), Postcards from the Edge (1990), Regarding Henry (1991), Primary Colours (1998), Angels in America (TV miniseries) (2003)

12. The Graduate An iconic film even today - as evidenced by its intertextual profile • cf Renault Clio advert • cf The Simpsons • cf Wayne’s World 2

13. The Graduate • Received seven Academy Award nominations: Best Director, Best Picture, Actor, Actress, Supporting Actress, Adapted Screenplay, and Cinematography. Mike Nichols picked up its only award, for directing.

14. The Graduate • Released during “summer of love” 1967, immediately perceived as emblem of 60’s generation - in revolt against parents’ culture and values • Based on Charles Webb’s novel (Webb v much “counter-cultural”) • Launched Dustin Hoffman’s career

15. The Graduate Main Themes • Entrapment • Isolation • Alienation • Generation gap • Coming of Age • Romance (“love can conquer all.”) Ben lacks direction in life, unable to communicate with those around him. Themes are conveyed in the formal qualities of the film.

16. Mise en scene and cinematography • Ben's isolation and entrapment reflected in the numerous glass motifs which are used to divide Ben from others; also many images of water • Entrapment in images of aquarium

17. Mise en scene and cinematography

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21. Mise en scene and cinematography Glass, reflection, water

22. Mise en scene and cinematography Glass, reflection, water

23. Mise en scene and cinematography Glass, reflection, water

24. Mise en scene and cinematography Glass, reflection, water

25. Mise en scene and cinematography • Nichols' camera also veers from extreme long shots of Ben alone in wide, open spaces to excessive close-ups and claustrophobic framing devices, allowing the viewer to empathise with protagonist.

26. Mise en scene and cinematography eg opening (post credit) sequence Ben's parents shroud our view by stepping in front of the camera and oppressing him visually. We are equally as frustrated as Ben eg tight claustrophobic framing when the guests want to speak to him Clip 2

27. Mise en scene and cinematography • Early shot when Mrs. Robinson is asking Ben for lift home, casually tosses keys into the fish tank behind him - reveals Mrs. Robinson's immediate control over Ben. Clip 3

28. Mise en scene and cinematography • Scene at the Robinson's house, immediately following Mrs. Robinson's attempted seduction as Ben talking with Mr. Robinson. • The two of them talking in foreground, when Mrs. R finally seen descending the stairs. She is shot walking in the distance right between Ben and Mr. Robinson, creating interesting visual effect, as if being shared, unassumingly, between the two conversing men.

29. Cinematography and Mise en scene • Later in same scene, Mr. Robinson continues talking to Ben while they walk to door together. Mrs. Robinson is in focus in the foreground as Ben and Mr. Robinson seen walking down hall becoming ever blurrier in lens. (Use of focal shift) • Sets up interesting image, seeing the fatherly arm around Ben as they walk away, but still observing Mrs. R's powerful look into camera, generating intriguing effect, - makes audience feel as uncomfortable as Ben in this awkward situation.

30. Mise en scene and cinematography • Later in the film, Mrs R ceases to be the youthful-looking seductress after her daughter's entrance reminds her of her age.

31. Mise en scene and cinematography Use of Zoom Opening (credit) sequence CU on Ben (we expect long establishing shot) Reverse zoom - we see that he is in fact in a crowd - emphasises his isolation

32. Mise en scene and cinematography Use of Zoom When Elaine realises Ben has been having sex with her mother, she screams at him to leave. Mrs Robinson is framed in CU, camera then zooms back to reveal Ben in the foreground as she says “Goodbye, Benjamin” Zoom suggests a distance now between them - reinforced by use of wide-angle lens Clip 7

33. Mise en scene and cinematography Use of Zoom • Ben goes to Berkeley in search of Elaine, walks through campus in LS sits on the edge of a fountain to wait. Zoom out (via a time-lapse dissolve) into an even more impressive shot, showing entire campus as classes start, Ben being focal point. • Then shown in MS on fountain, until stands up and turns around, where camera then quickly zooms past his shoulder, in an eye line match, to Elaine all the way across campus.

34. Mise en scene and cinematography Use of Zoom • When Ben arrives to take out Elaine, the depth of Mrs R’s disapproval expressed in slow zoom LS to CU - if looks could kill! • (starts with overlapping sound of doorbell) • Note also moronic gameshow on TV in background - Mr R seems to be enjoying it, Mrs R bored rigid - emphasising her alienation Clip 9

35. Mise en scene and cinematography Use of Zoom Ben in the Robinson's bedroom looking desperately for Elaine. While Mrs. R is calling police, v effective zoom from LS to almost CU of Mrs. R, enhancing tension of scene and displaying her continuing power over Ben. Very next frame LS of Ben standing in ragged disbelief of situation, almost making him blend in background of bedroom, creating very insignificant feel to Ben's reckless plight. Clip 10

36. Cinematography and Mise en scene Rack focus • Rack focus used when Ben trying to tell Elaine identity of the “older woman”. He looks at Mrs Robinson who is distraught as Elaine is shocked • Note way Elaine’s face remains out of focus, connoting her shock and confusion Clip 11

37. Cinematography and Mise en scene • Mrs Robinson's dominant, predatory nature expressed through costume, especially the animal print motifs on her clothes (motif discarded after she has ‘devoured her prey’)

38. Cinematography and Mise en scene

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40. Cinematography and Mise en scene

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44. Cinematography and Mise en scene Telephoto lens By using a telephoto lens, Benjamin - desperately trying to “get to the church on time” - appears to be “running on the spot” Connotes feeling of panic and dread that he will be too late Clip 12

45. Mise en scene and cinematography • Ben's clothing and body language progress from the uptight conformity of suit and tie . . . … to a laid-back attitude, complete with shades and cigarette, after his affair with Mrs Robinson has begun

46. Cinematography and Mise en scene Use of colour Mrs Robinson and Elaine differentiated by colour: Elaine often shown in pink …

47. Cinematography and Mise en scene Use of colour … while Mrs Robinson frequently in black

48. Cinematography and Mise en scene Graphic match between Ben and toy frogman . . .

49. Cinematography and Mise en scene … and Ben as toy frogman.

50. Editing Montage Sequence showing Ben’s relationship with Mrs R over summer Scene preceded by Ben’s seduction by Mrs R in room in Taft Hotel – once again wearing animal prints (this time underwear) connoting predator. When she makes to dress and leave, suggesting he is “inadequate”, he shouts “Don’t move!” and slams the door shut (her strategy has worked).