Mississippi Burning Opening Sequence

WATER FOUNTAIN SCENE

People Two anonymous figures White person first Black child 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 Music commences Sound of snare drum 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 KKK members step out of car 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 Point of view angle Extreme close-ups 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 Klansman ‘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’