Sequence Analysis

SHOT 1

The sequence opens with this very wide shot, establishing an overwhelmingly natural location typical of Australian cinematography, containing very green elements and natural lighting. To push a recurring and very potent virginal/angelic theme in the film, the shot imitates a renaissance painting (specifically Botticelli, who is directly referenced later in the sequence). As such, Weir deliberately creates an atmosphere of alienation via a cultural clash i.e. European convention superimposed into an Australian setting. Thus, as an inherent rule of Australian cinema, this cultural clash foretells impending doom.

SHOT 2

Shots 2 to 4 function as visual metaphors for the events that are about to ensue, the impossibility of taming the Australian wilderness, and the ignorance of those who think they can.

Shot 2 specifically parallels the events that are happening during the sequence. It depicts a few ants easily claiming a single crumb, thus drawing a comparison to the initial calm expectations of climbing the rock held by the climbers at this point in the film.

SHOT 3
The ants begin to be overwhelmed by the amount of food, and proves much more difficult to handle than in the previous shot.






SHOT 4

The full slice of cake in this shot shows the ants scrambling around, attempting in vain to conquer it. It demonstrates the intense reality the girls now face, Hanging Rock, like every aspect of the Australian landscape is absolutely untameable like this piece of cake is to the ants. As such, Hanging Rock may seem like a piece of cake, but it is not.

SHOT 5

Much like the first shot, this medium close-up of Miranda is very picturesque, again bearing a strong resemblance to a Renaissance painting, and thus strengthens the European element of the film, which, as stated, suggests a sense of alienation and ignorance among the unforgiving Australian landscape. The character of Mademoiselle de Poitiers, the French teacher, represents this foreign ignorance. She is depicted as an excessively frivolous and Romantic (she is seen resting on the ground with a white lace parasol in the shot), and therefore the worst person the girls would ask permission to venture into the merciless wilderness.

SHOT 6

Both the blocking and costuming in this shot are significant as indications of the character hierarchy in the film. They also reinforce what was discussed in the previous shot i.e. the danger of foreign influence. Mademoiselle de Poitiers is dressed in very loose fitting, lace clothing and positioned below the height of Miss McCraw in the shot and is looking up towards her. Miss McCraw in contrast is wearing constricting and dark clothing. Therefore the blocking and costuming suggests a strong and rigid authorial ladder, which should not be violated.

SHOT 7

This shot is the longest in the sequence at around 25 seconds long. The shot returns to the medium close-up from Shot 5 and begins with Mademoiselle de Poitiers giving permission to the girls to venture into the wilderness, while Miranda is placed firmly in the centre-front of the frame throughout the entire shot. She is draped in shadow when she says “Don’t worry mademoiselle, we shall only be gone a little while”, suggesting rather the complete opposite. This is further emphasised when Miranda leaves the frame to reveal Miss McCraw in the direct centre of the shot, also covered in shadow, however dressed in blood red. Due to the existence of an unresolved ending, it’s difficult to determine why Weir had chosen this particular colour as a strong contrast to the rest of the characters in the scene, however it does strongly evoke death or at the very least something quite sinister.

SHOT 8

This shot is instrumental in consolidating the angelic/virginal theme Weir has chosen to adopt. The girls are shown running towards their doom with an angelic grace. The white lace and loose sleeves flow as they run to evoke and angelic parallel. This is in stark contrast to the surrounding wilderness, which is predominantly made up of dry browns and greens. This is another indication to the alienation of the Australian landscape. At the end of the shot, Miranda is shown to be waving goodbye to Mademoiselle de Poitiers, which foresees her impending disappearance.

SHOT 9

This medium close-up shot, although quite short, consolidates the aforementioned danger of foreign influence and frivolousness amid the Australian landscape. Mademoiselle de Poitiers is shown waving a handkerchief to the girls, ignorant to the dangers they may (and will) face.

SHOT 10
This close-up shot of Miranda is also a quick one, both in the length and in the movement. She is seen quickly turning in an abrupt motion. It is seen from the perspective of Mademoiselle de Poitiers and shows Miranda's swift escape from the sequence, effectively cutting her off completely from the picturesque world of Mademoiselle de Poitiers, as she delves into the unforgiving Australian wilderness.


SHOT 11
This shot returns to where Shot 9 left off. However in this case, Mademoiselle de Poitiers' face is now completely covered in shadow, reinforcing her unawareness.





SHOT 12
This is an over-the-shoulder shot from the perspective of Mademoiselle de Poitiers. This and the next shot work as the most explicit confirmations of the angelic/virginal theme, and thus I will discuss it in the next shot's description.




SHOT 13
In this final shot, Mademoiselle de Poitiers quite explicitly states "I know Miranda is Botticelli angel", thus confirming the angelic/virginal theme which has been present in the sequence and indeed the entire film. The shot begins with just Mademoiselle de Poitiers in the frame, retaining her perspective established in the previous shot. The camera then tilts up to include Miss McCraw. After Mademoiselle de Poitiers finishes the aforementioned quote, the camera then pans to a mid-shot of Miss McCraw in the very centre, excluding de Poitiers from the frame, effectively switching perspectives. The sequence thus leaves the audience with the suspicion of something far more sinister, as Miss McCraw's expression and stature suggests an awareness that is absent from de Poitiers'.


References:

Picnic at Hanging Rock (1975), Dir: Peter Weir