Poster Analysis #1: The Jungle Book

In a previous life I wrote a lot of film reviews. It made little money but it was a labor of love and, hey, who doesn't love movies? I still love cinema but I don't get anywhere near enough time these days to keep up with its latest ebbs and flows. 

 

I can still indulge in my fascination with film posters though because the internet is awash in them!

One of the benefits of the internet is that it democratised information. Things became accessible to a broader range of people and this continues to grow broader, meaning that if you have the inclination to design your own film poster you can do this and then potentially share it with millions upon millions of other people. This also works for the big guys too, with any marketed material now proliferated throughout the internet.

Over the next month I've decided to tackle Nanowrimo for the third time (third time's the charm, right?) so I'll have little time to write blog posts. I thought I might keep things ticking along by looking at a few posters.

There are several striking things about the above poster that tie into the study of visual literacy in the English classroom. Let's break it down element by element.

Light and Shade: The borders of the poster are cast in shadow, creating silhouette-like effects for the figures in the foreground. This 'vignetting' of the image pulls the viewer's focus into the middle, where the source of light is, which brings us to...

Salience: The salient (main) feature of an image is usually its central figure, or a large piece of writing. This is almost always a matter of perspective - what each viewer sees as having salience may differ, as does the creator's vision of what will be salient. It's worth thinking of a poster as an exercise in persuasion - it's a product design to persuade the viewer to be interested. I would argue that the salient part of this image is one of it's smallest visual features - the flame in Mowgli's hand, which may be making a thematic point. A lot of the elements work together to draw our eye to this point. But, as mentioned, this is a matter of perspective. 

Colour: Colour often functions as a form of symbolism. We attach colours to certain connotations or associations, dependent on our cultural background. For example, in Western cultures the colour white is used to symbolise purity and peace (as seen in the wearing of a white dress at a wedding, or the waving of a white flag). In Ancient Egypt, however, white was the colour for death, and among the Bedouin peoples white represents fertility and happiness. In the case of The Jungle Book, the colours are organic, orange/yellow to represent the light brought by Mowgli, and blue/green to demonstrate the nature-based setting of the jungle.

Colour wheels demonstrate colour oppositions and help designers select colours that will contrast well with one another.

 

Colour also functions, from a design standpoint, in concert with other colours for aesthetic impact. A cursory understanding of colour theory will help students comprehend why certain colour palettes are used when creating images for film. The poster for The Jungle Book takes a muted approach to the often overused blue/orange contrast (look up blue/orange film posters to see just how often these two colours get used together). Part of the reason for this is that it demonstrates a juxtaposition between a 'cool' colour and a 'warm' one, which can assist with attracting the eye. 

Camera Angle / Shot Size: The camera is placed somewhere between eye level and slightly lower, and captures an extreme long shot of Mowgli in his environment. The angle and shot size work together to place an emphasis on the setting (the jungle) and Mowgli's role in leading a vanguard of sorts into this realm (making him the viewer's identification point in this poster/film). The size of Mowgli in comparison to the environment also suggests a certain power in the setting - that Mowgli is dwarfed against these ruins suggests that they are something to be reckoned with, something that will feature significantly in the film.

Mise en scene: This French term literally translates as 'setting the stage' and refers to the design of things within the shot. A director needs to consider mise en scene when arranging what the audience sees in each shot and how they see it. In this case, we have an 'over-the-shoulder' shot of sorts that places the viewer on the shoulder of the animals as they look up towards Mowgli. The image itself is neatly split into background-midground-foreground by the architecture, creating a three-dimensional effect looking into the environment, which dovetails nicely into the film's promotion as a '3D' experience. 

Focus: The camera is focused predominantly on the foreground and, at a pinch, the midground too. The large statue-head in the background is unfocused - perhaps inviting curiosity from the viewer, a sense of something being held back out of reach, something that would bear further investigation if the viewer agrees to watch the film. 

Vectors: Images often utilise lines (imagined or real) to draw the viewer's eye to where the designer wants them to look first. There aren't clear, strong examples of this in The Jungle Book's poster, but the contours of the animals in the foreground - the big cat, the wolf, the monkeys, and even the snake, all seem to point towards Mowgli in the middle. This isn't a coincidence; he's the main character. This is part of how we know he's intended to be interpreted as the main character.

Font: There's a slightly cursive, scimitar-like quality to the key parts of the lettering that is reminiscent of colonial India. The pock-marked texturing of the letters also correlates with the texture of the ruins in the image, suggesting the worn and aged surface of stone structures deep within the jungle. 

Gaze: Gaze is often characterised in terms of how the viewer engages with media. In the English classroom this can refer to where a central character is looking in an image - do the eyes make contact with the camera (and therefore the audience)? Do they look off-centre at something else? What do these acts symbolise in relation to the content of the text? In the case of The Jungle Book, we are given no eyes to observe. Instead, Mowgli's gaze is elsewhere. The gaze of the animals is elsewhere. Where do these eyes look? What role is the audience being cast into by this act? These things coincide to place emphasis on the setting and it's three-dimensional quality. It's an invitation to adventure.

Generic Conventions: Allowing the viewer to identify genre is a big part of a film's effort to promote itself. In this case, The Jungle Book suggests the genres of adventure and fantasy through its inclusion of animals, architecture suggestive of ancient civilisation, the boy's heroic and curious stance, and the previously-mentioned evocations of the font and the gaze of the characters. The image also showcases the computer-generated scenery and animal-characters that feature in the film - elements made possible by 21st century technology. This is a wave of technological innovation that has played into Disney's relatively recent effects-driven wave of adapting their classic animated oeuvre into live action, a trend that could be seen as a 2010s-2020s sub-genre unto itself (see their effects-heavy live action remakes of: Beauty and the Beast, Aladdin, The Lion King, Mulan, Dumbo).

Promotional Choices: The choice to only portray these characters from behind could also be interpreted as a deliberate 'holding back' of detail. Disney knows that these are popular characters and that a big drawcard for modern audiences will be seeing what Shere Khan, Baloo, Bagheera, King Louie, etc., all look like in this expensive, modern adaptation. The property itself - a story produced by Disney from a well-known book and a well-known animated film - means that there is little need to rely on A-list actors to attract viewers. Hence, we don't see any actors in the poster, and the names are relatively small. There is also no need for a tagline - it's The Jungle Book, most people already know approximately what it is, so Disney knows that their best approach is to instead focus on their recreation of this beloved story and the way that modern cutting-edge special effects are being used to bring it to life.

Questions for Students

Students will need to think about some of the bigger questions tied to the purpose of a film poster.

1. What message is this poster trying to convey about the film?
2. How does this poster want the audience to think about the film?
3. What are the filmmakers relying on to to help 'sell' the film?

In order to get them there, you could ask a range of questions related to the above visual literacy elements. Think about:

1. How has colour been used to attract the viewer's attention?
2. How has colour been used to represent the film's themes?
3. Comment on the body language and gaze of the characters, and how the viewer interacts with these.
4. What is the salient part of the image?
5. Draw the vectors and indicate where they lead the eye, and why.
   
6. Describe the mise en scene and angle/size of the shot.
7. What genre is being suggested and how?
8. Explain why the film does not have a tagline.

And then, after all of the above has been completed, ask students to consider whether they think the poster worked in getting their attention and why this was the case. If they did not like the poster, they will need to justify how they would redesign it.