Mississippi Burning

Opening Sequence

WATER FOUNTAIN

SCENE

People

• Two anonymous figures– Highlights that racial tension affects whole

community• White person first– Whites are superior to blacks

• Black child– Child, indicates Parker’s sympathy is with black

community– Could also mean blacks treated like children

Fountains• White fountain hand operated/black constantly

running– Whites have power to control events, black

community are powerless• ‘White’ sign higher than ‘colored’– Superior attitude. Although separate, not equal

• White fountain new, metallic, good working order/ black one old, state of disrepair, low pressure– Discrimination in all aspects of life

• Pipe divides the fountains and screen – shows the racial divide and the central concern of film

Lighting and Music

• Light comes in from white side– Dark shadows cast over black side symbolising the

persecution by the whites

• Whole scene fairly dark– Majority of whites also in the dark regarding their

racist views

• Traditional gospel music– Plea to God from the oppressed/persecuted people– Soulful but depressing. Engages viewer’s emotions.

The Title

Monochrome Title

Visual Metaphor representing racial divide

•Black background– Black community pushed into the background

•Title in white– Whites remain prominent. Their views heard over

blacks’.

Burning Community

Burning Church

• Supposed to provide peace and comfort, symbol of love and hope– Destroyed by hatred of white community– Symbolises loss of peace and hope in community

• Visual representation of hate and destruction– Racial tensions in community

• Gradually collapses– Community gradually collapsing/torn apart by

racism of whites

Contrast with Water Fountain Scene

• Running water creates sense of calm– Represents life/life giving element– Peaceful

• Contrast with destructive force of fire– Racial divide is destructive

• Juxtaposition of two images– Very different but both symbolise division in

community

Chase Sequence

Sound• Silence at start– Illustrates isolation of setting

• Music commences– Peace will soon be disturbed

• Sound of snare drum– When ‘authorities’ enter scene– Like a march, two communities going to war– Like the drum roll heard before an execution

• Boys’ car enters scene– Sound of crickets, peaceful

• Police cars enter scene– Revving engines, menacing. Intend to intimidate

Music builds tension, especially as it speeds up

Lighting• Black boy in back in darkness

– Shadow hangs over him, perhaps marking him out– Could be ominous foreshadowing of imminent fate– Reminds us of opening shot of water fountain

• KKK members step out of car– Unable to see clearly because of strong light– Highlights secrecy of activities/hidden identity

• Shine torches in faces of activists– Intimidates but also unable to clearly see their faces– Illustrates mystery with which they keep their racist activity

surrounded• Screen goes black after first gunshot

– Only one possible conclusion – do not need to see to know what happens

• Happens at night– Under the cover of darkness

Camera Shots

• Long shot– Car’s progress: single car in undulating road. Ominous.– Alternates with close-ups in car

• Wide angle shots of convoy– Shows no escape – Reinforces vulnerability of boys: single car in vast countryside– See ‘predator’

• Close-up of black boy– Unsettled, uneasy. Allows viewer to empathise– Looks over shoulder – black community always doing so in

fear• Long shots to close-ups– Predatory cars chasing their victim– Become part of the panic inside the car

Camera Angles• Keep changing

– Echoes unsettled, frightening, chaotic nature of scene• Point of view angle

– Feels like we are partaking in action• Extreme close-ups

– Viewer empathises with activists– Can see fear

• High angle shots– Establish dominance of the police and vulnerability of victims

• Framing of head and chin of one of the murderers– Terrifying in its effect

• Close up of gun and trigger being pulled– Shocking shot – shocks us out of apathy– Close up of blood on face is harrowing

Dialogue• Black activist assesses the situation correctly– ‘Oh, they ain’t playin’, you better believe it.’

• Klansman– ‘I shot me a nigger’: feeds into existing knowledge

of the Klan– Deep southern drawl

• Language makes viewer uneasy – ‘Jew boy’ and ‘Nigger lover’