A popular film with a wide audience, such a good thing to ruin with analysis. Not a perfect tragedy, doesn’t fit perfectly to Aristotle or Horace but does manipulate the genre very well to appeal to a wide audience.

Maximus isn’t the perfect character but does tick most of the boxes as a tragic hero.

Hamartia: Blinded by his pride in doing the right thing, his error in judgement comes from the fact that he can’t see his error towards Commodus. He’s very upfront and doesn’t address his sneakiness. Sets up character very well in opening scenes, more than common man, unwillingness to break rules, we admire him as much as we fear for his safety, wanting the ‘good guy’ to come out on top bringing this cathartic experience.

Hubris: He feels very good about himself for bringing his army to victory after the last battle. His ability to speak eloquently, his costume and the way he appeals to others all demonstrate his pride.

Peripeteia: He loses all of the things he once had, his costume, eloquent speech and majestic figure being lost. Frequently we are offered these moments where Maximus may come out on top, particularly in the final scene of hope.

Anagnorisis: Not the traditional realisation which is seen in tragedies like Lear. Maximus experiences anagnorisis after giving up once his family is killed, feeling a sudden drive for revenge after his talks with Juba and Proximo. He realises he can use the fighting pits as a way to get close to Commodus and bring justice to Rome. If he didn’t understand that he has a chance to restore Rome, he likely would have killed Commodus on the spot after revealing himself by taking off his mask. He realises that his personal vendetta isn’t everything, beginning to see the greater good, that Commodus isn’t the best ruler.

Nemesis: Unlike Lear who experiences the terrible fate and ultimate suffering at the end, Maximus experiences this terrible fate towards the beginning after seeing his burnt family. We feel pity for him earlier on. A blinding moral compass is not a just reason for death. We are encouraged to feel that death is a reward through the imagery/ dream sequences interwoven throughout the film. We feel that the relationship with his family may be restored in the afterlife.

Catharsis: There are so many times where we feel pity for Maximus or hope that he will restore justice but then this hope crashes down. Many cathartic moments are supplied by Scott.

Characters should be stereotypical and easily recognisible – Horace

Characters are secondary to plot – Aristotle

Man fighting for good of people as opposed to man fighting for his own good.

Writing Techniques:

It is the way characters change in a text that makes them human.

Humanity, the nature of our species, the inner complexities shared by all of us which allows us to connect and understand one another. At the base of every character, once all of the dramatized aspects are stripped away, it is important for there to be humanity. In the words of Aristotle, the tragic hero “must be true to life” and an accurate representation of the common man. Throughout Ridley Scott’s Gladiator, these basic human traits held by the tragic hero Maximus are exposed for the audience to identify with and relate to as he changes throughout the film. Maximus’ misfortune stems from his initial misjudgement of a situation. His imperfect and rigid nature causes his own suffering, a characteristic common to the everyday person, thus making him a realistic character for the viewer to engage with. Through this, Scott allows us to place ourselves in their situation enhancing our cathartic experience, which is the primary goal of any tragedy.

Symbols are a rich source of meaning in an effective text.

An effective film allows the viewer to easily gain insight into the director’s intentions surrounding the key messages which the viewer should take away. Visual symbolism is a common method to get a message across to the audience because it successfully allows the viewer to easily understand key aspects of the film. Ridley Scott’s Gladiator frequently uses symbols as a captivating way of allowing the viewer to understand the tragic hero Maximus’ experience with peripeteia, the drastic change in fortune. Animal imagery, costume and various objects are three key uses of symbolism throughout the film to evoke thought in the viewer.

Sentences:

Simple:  A simple sentence has one independent clause that has a subject, a verb and expresses a complete thought or idea. eg. Joe waited for the train  

Very good for having a striking opening or a punchy summary sentence that follows a long passage of information.

Compound: A compound sentence has at least two independent clauses that have related ideas. 

Very good when you wish to indicate a relationship between two separate ideas.

Complex: A complex sentence contains an independent clause and one or more dependent clauses.  These dependent clauses rely on the presence of the independent clause to make sense. Eg. When it stops raining, we will play baseball.

Minor: A minor sentence does not have at least one independent clause—that is, it does not have both a subject and a complete predicate—and yet is used in writing or speech as a complete sentence that stands on its own.

Independent Clause: An independent clause is a group of words that contains both a subject and a predicate. It expresses a complete thought and can stand alone as a sentence.

Dependent Clause: A dependent clause is a group of words with a subject and a verb. It does not express a complete thought so it is not a sentence and can’t stand alone. 

Conjunction: Conjunctions are words that link other words, phrases, or clauses together.  Two independent clauses are connected with a conjunction.

Marker Word: A discourse marker is a particle used to direct or redirect the flow of conversation without adding any significant paraphrasable meaning to the discourse. Independent and dependent clause connects with the marker word. Eg. Because she is nice, Mrs Thomas let us read books that we brought from home. “Because” and “that” are the two marker words.

Simple Sentences

A striking opening sets the text up. It catches our attention. Ridley Scott’s Gladiator has an effective striking opening. Audiences are intrigued by the film starting in the middle of the action. We are thrust into the battlefield. Our protagonist Maximus is then introduced. The opening allows the audience to understand Maximus. We start in the middle of his journey. We still understand who Maximus is. He possesses the traits of an Aristotelean tragic hero. The concept of a tragic hero is an idea implemented by Scott in Gladiator. This idea is not explained thoroughly to the audience in the opening. We can infer who Maximus is. He is a nobleman at the height of fortune. He is a general who values his family. He has immense pride in his successful position. Film techniques allow us to infer who Maximus is. Animal Imagery is utilised by Scott. The costume is utilised by Scott. The flashforwards of the afterlife. All these techniques successfully establish the idea of Maximus’ character. Scott doesn’t need to overly explain Maximus. We learn about him in an efficient manner. We are drawn in. The text is now successful.

Compound Sentences

A striking opening sets the text up. It catches our attention. Ridley Scott’s Gladiator has an effective striking opening since audiences are intrigued by the film starting in the middle of the action. We are thrust into the battlefield as our protagonist Maximus is introduced. The opening allows the audience to understand Maximus. We start in the middle of his journey, yet we still understand who Maximus is. The concept of a tragic hero is an idea implemented by Scott in Gladiator because Maximus possesses the traits of an Aristotelean tragic hero. This idea is not explained thoroughly to the audience in the opening but can infer who Maximus is. He is a noble general at the height of fortune and possesses immense pride as a result. He also values his family. Film techniques help convey who Maximus is. Animal Imagery, costume and flashforwards of the afterlife all successfully establish the idea of Maximus’ character. Scott doesn’t need to overly explain Maximus and we learn about him in an efficient manner. Scott draws us in and the film is successfully set up.

Complex Sentences

A striking opening sets the text up. Because it catches our attention, Ridley Scott’s Gladiator has an effective striking opening. Audiences are intrigued by the film starting in the middle of the action. We are thrust amidst a battlefield wherein our protagonist Maximus is introduced. Although we start in the middle of Maximus’ journey, the opening still allows the audience to understand his backstory. Since Maximus is clearly shown to possess the traits of an Aristotelean tragic hero, Scott has likely implemented Aristotle’s ideas into Gladiator. This idea is not overly explained to the audience in the opening however we are introduced to the general idea of who Maximus is. He’s a general with immense pride in his reputation as a successful leader. He is a loving father and husband, family being a value that he protects. Scott utilises film techniques like animal imagery, costume and flash-forwards to allow us to easily infer who Maximus is. Through these techniques, we learn about him in an efficient manner and are drawn in, thus making the text successful.

Punctuation

I am conflicted about zoos. I worry they’re an extension of our other colonial activities, marking our territory at the apex of the natural world, and a form of species-level dominance that shares a root with the domination of men over women and of majority over minority. 

Or, perhaps I’m overthinking things. Maybe they’re just a playground to take the children to, rather than go stir crazy at home. Whatever they used to be, zoos are now playing a different role in conservation and reminding people of the challenges humans have created for the diversity of global fauna.

Scene of Suffering

Music/Sound: Music intensifies as Maximus rides on the horse to heighten tension and suspense. The music quietens as a guitar strums to bring attention to the striking of thunder. In a sudden burst of energy, Maximus rides rapidly to the farm, the music grows louder and faster. Sorrow by Lisa Gerrard and Hans Zimmer plays to capture the sadness of the scene and enhance our emotions of grief, pity and anguish as we watch Maximus cry in front of his dead family. Inner dialogue/ narration of Maximus reflecting on his conversations with Marcus. He is experiencing inner conflict, possibly regretting his decision to not accept Commodus’ offer. Builds tension and hope in the audience and each time we are let down.

Bells as slavers approach Maximus.

Camera Shots: wide angle shot of storm and desolate landscape

Many close up shots of Maximus’ confused, disorientated and sorrowful face.

Costume: Loses armour, raggy clothing brown clothe tunic Blood soaking clothes adding to the heroic nature of his character

Mise En Scene: Storm symbolises the inner rage and misfortune experienced by Maximus. Smoky background, damaged garden, torn down fabrics behind Maximus as he cradles his family’s bodies. There are chickens as he arrives at the scene, which is spared over his family, indicating that they are more important in terms of the chain of being. Maximus slumps on the horse as he remembers why he is riding home, visioning what could happen to his family. The trampling is very over the top and rather unrealistic, highlighting that Maximus may be imagining what could be happening to his family if he doesn’t make it fast enough. the burst of energy after he visions this indicates a sudden realisation or motivation that he must move faster. Pan across the hay field, eery, farmers watching something, also doesn’t seem realistic.

Tragedy Genre: This is the scene of suffering, making us feel immense pity for Maximus very early in the film and forming a bond with him as the protagonist. Happens at the start, Scott moving the scene towards the start of the film for us to attach a bond with Maximus since we pity him very early in the film.

Slaving Scene

Music/ Sound: Bells clanging, angels sweeping him away? Children laughing. Snakes hissing, horse neighing, dog growling, monkey laughing all emphasise reversal of fortune to animal status in terms of the chain of being. Disorientated, distorted music (also lighting turns more high key). Middle Eastern music, establishing the scene. Scream of anguish.

Camera Shots: Low angle shots of slavers to unsettle audience and make us feel unsafe about Maximus’ situation. Establishing shot of new desert scenery. Tracking of the white horse. Puts us into the scene with him, as the camera shots are close to Maximus, giving it a personal, right there with him, relationship with Maximus in the audience.

Dialogue: Juba speaks to Maximus “No they will clean it, wait and see.” (in reference to the maggots cleaning Maximus’ wound) “Don’t die, they’ll feed you to the lions, they’re worth more than we are.” highlights that Maximus is now more unworthy or less than the lions at the top of the animal food chain.

Costume: Even more tattered clothing, dirty to indicate further peripeteia

Mise En Scene: Afterlife dream sequences, Stormy yellow sky wide shot. Running a hand over wheat wishes to go home in the afterlife. A wide shot shows that he is below the dog’s cage, further showing that he is low in the chain of being. The white gate also indicates that he is near death and wishes to join his family in the afterlife. Rock bottom cause literally brushing against rocks. Floating or drifting into the afterlife. The pushing of the rock brings him back to reality, rooting himself into reality rather than the afterlife that he desires.

Tragedy Genre: Peripeteia is importantly highlighted in this scene, the start of act two or rising action. Establishes pity and fear that the audience feels for him.

First Gladiator Fight

Music/ Sound: Clanging of metal, a reminder of their base level status that they’re at since blacksmiths are present. Upbeat happy trumpet music as audience cheers, indicating that this scene is perceived as positive entertainment.

Music slows down

Camera Shots: Establishing shot shows black birds circling gladiator pits to signify death.

Costume: one is dressed as a bull or mule, animal imagery?

Dialogue: “You hear that (kill kill kill), thrust this into another man’s flesh, they will love you for that, you may begin to love them for that, ultimately we are all dead men. but we can decide how we meet that end and how we are remembered.” Excessive pride in him?

Mise En Scene: Grabs dirt, grounding, makes him more relatable to the audience since it reminds him of his family and home, something we all value. Lot of chains to indicate a sense of entrapment and no escape to the impending doom. Gladiators dying in a brutal manner left to right, cause fear in the audience that Maximus may meet the same fate.

Tragedy Genre: Cathartic moment for the audience.

Opening Scene

Music/ Sound: Prologue. Children laughing – innocence and freedom possibly indicates that he values his child. Wind howling makes the scene more mysterious. Heroic/noble music begins. Tension and release through the fast-paced dramatic, tension building music, we are conditioned to learn that he will escape because each time this music is used in the battle sequences he wins.

Camera Shots: Mid close up shot of brooding Maximus. Wide shot to encompass the scene and visibly compare Maximus to the rest of the soldiers and highlight his importance.

Dialogue: soldiers acknowledge Maximus with words like “sir” to show that he is respected (also kneel).

Costume: Wears wolf skin, literally wearing his loyalty on his back.

Mise En Scene: Very dark gloomy atmosphere to indicate that this is a troubling time, heightening his heroic status because he is freeing Rome from these dire times.

Tragedy Genre: ‘In media res’, exposition (introduce the character, plot and problem), establishes that Maximus holds several key characteristics of a tragic hero like hubris, noble or prideful status, height fortune, a common man in real life etc. music sets up catharsis throughout the film

Other: The text at the beginning serves as a prologue, introducing the context of the film and enabling the film to start ‘in media res’. The wording of the text also encourages the viewer to believe that Maximus represents the ‘good side’ and that we should root for him. “promise of peace throughout the empire” 

Colosseum Fight

Music/Sound: Clanging of metal is again used to establish the lower class status of these gladiators. Very intense, heightened music.

Camera Shots:

Costume: Masks to cover identity since he is no longer ‘Maximus’, and has merely become a gladiator, the mask embracing this identity. Relates to peripeteia since he has lost his status and identity.

Dialogue: “go and die with honour” “we have no chance of survival unless we stick together, we stay together we survive”, he is in general mode, indicating that because of his hubris, he still cannot let go of his previous role or noble position. “you do have a name?”

Mise En Scene:

Tragedy Genre: Leads up to the turning point or climax, wherein Maximus reveals his identity to Commodus

Other: 

Representation of the genre of tragedy,

 

Select two scenes to critically analyse. The scene should allow you to identify a range of visual and verbal features which work together to develop a range of critical responses to. Precisely explain how features combine to express the genre, the same features in both scenes. Discuss the intention of technique from Scott and text as a whole. Position audience is placed in an impact on us.

Opening Scene, Slaving Scene are my two scenes Look over notes, identify the techniques that are used across both scenes. Must discuss a minimum of 2. – Motif (animal imagery), Camera Shots, Costume, montage (change in lighting, dream sequences), Non-diagetic Sound (Music/ sound effects) Think about what conventions of tragedy are developed via the techniques you have selected. Consider the purpose of these at this moment of the film. What is the director trying to manipulate and why? What position are we, the viewer, placed in? What impact is had on how we view the film.