The Power of Subtext

What is Subtext?
Subtext is any content of a creative work which is not announced explicitly by the characters, but is implicit or becomes something understood by the observer of the work as the production unfolds. Subtext can also be used to imply controversial subjects without specifically alienating people from the fiction, often through use of metaphor.

Subtext is content underneath the dialogue. Under dialogue, there can be conflict, anger, competition, pride, showing off, or other implicit ideas and emotions. Subtext is the unspoken thoughts and motives of characters — what they really think and believe.

Subtext is also a frequently used method of subtly inserting social or political commentary into fiction. Subtext is often also inserted in narratives where explicit themes are unable to be shown or expressed due to censorship or simply interest in appealing to a general audience. Subtext includes information about the period and culture that may not be deliberately articulated but is conveyed through the film in speech, social customs or historical details.

In short, subtext is what is implied: it's something that cannot be grasped at surface level. Something that the audience has to find themselves. For example, subtext is the audience being able to tell something about a particular character without anything being said about said character.

What is Visual Subtext?
Visual subtext applies to film; its what the audience can read into from what they can see. Visual subtext is using imagery as metaphors, symbols and motifs to deepen the meaning of your film. From the use of mise-en-scène, camerawork and composition/colour, to even the movement of the actors, these all can help create subtle meaning beyond what is explicitly made clear.

Here is a short lecture from Alex Buono, a cinematographer who champions the use of visual subtext, explaining how visual subtext can transform a good piece of filmmaking into a nuanced masterpiece.


How Have You Employed Visual Subtext?
I use visual subtext in a very physical way, applying it mostly to my mise-en-scène. I use visual prompts as metaphors for things that help construct/reinforce my own political message, as well as just generally enhancing the storytelling.

Mise-en-Scène
I have used mise-en-scène to both construct a world in which the audience can immerse themselves and to serve as metaphors for particular themes presented throughout my short film. Some of these themes include religion, tyranny and so on.
  • Costumes (style) - At first glance, the costumes just seem like original outfits for a fantasy world, however, upon closer inspection they confer so much more meaning. The costumes are a mismatch of period and modern styles, but they all have one thing in common: they adhere to Western styles. This may seem like it is because it is filmed in Britain, so they dress like the British. However, this is not the case. The reason the costumes look British/Western is that it centres the film's message on the United Kingdom. It shows that the problems the characters in my film are facing are problems faced in contemporary British society. I have alluded to British societal problems to link the narrative to Britain without explicitly mentioning the UK or directly setting the film in the UK, making it a very subtle way of referring to current issues. 
  • Costumes (colour) - While it just looks like the characters are wearing specific colours to denote the difference between them, the colours of the costumes hold so much more meaning when explored. The colours of the costumes work in a similar way to the styles in that, without explicitly stating so, they allude to real life issues and ideas. For example, the use of the colour white to draw a connection to Western idealisation of white. It links the characters that wear white (the White Cloaks) to the West because they it creates a false sense of purity. Likewise, the colour green, being the colour of Islam, links the Riverfolk to Muslims. This, once again, draws links to contemporary societal issues without explicitly using these examples and making the metaphors clumsy or obvious. 
  • Location - The location may seem like a picturesque setting, however, like all the other examples, it carries so much more meaning. For example, the river in my film is a motif for division, its frequent presence reminds the audience of the main theme of the film and the cause for the conflict. 
  • Props - Similarly, props are used to allude to certain themes in my film. For example, the use of the white rose enhances the storytelling because it is used as a physical sign of foreshadowing. The Preacher's blood dripping down the white rose foreshadows both Bleedingheart's death and the repercussions of her death which leads to the Preacher's own downfall. This is just one example of how I use props, paired with the cinematography, as visual subtext.

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