Essay: Shutter Island's Focalisation, Narration, and Thematic Impact

This essay provides an in-depth analysis of the film "Shutter Island," examining the impact of focalization and narration on its narrative attributes and thematic elements. It begins by defining focalization as introduced by Genette and explores its various types, including zero, internal, and external focalization, and how these relate to narration and point of view. The essay then discusses how Hitchcock utilized focalization to create suspense, drawing parallels with other films like "Psycho" and "The Big Sleep." It also delves into Murray Smith's Cognitive Theory, particularly the elements of recognition, alignment, and allegiance, to explain how film makers guide audience sympathy. Finally, it connects these concepts to "Shutter Island," exploring the themes of explored reality, mental illness, guilt, and trauma and how these themes are conveyed through the film's narrative techniques. The essay highlights how the film's narrative attributes, particularly focalization and narration, contribute to the audience's understanding and experience of these complex themes.

Essay

TABLE OF CONTENTS
Topic:-- Essay analysing (shutter island) in relation to focalisation narration consider how these
narrative attributes contribute towards your chosen film’s themes. ...............................................3
REFERENCES................................................................................................................................8

Topic:-- Essay analysing (shutter island) in relation to focalisation narration
consider how these narrative attributes contribute towards your chosen
film’s themes.
The present essay is based upon the two leading terms called focalisation and narration of
a film called Shutter Island to acknowledge the ways in which the aforesaid terms impact upon
the narrative attributes of this film's theme. Focalization is basically a term proposed by Genette
in the year 1972 (Allan, 2017). Genette with his full name of Genard Genette was a French based
literary theorist. He created this term to define the preference or limitation of the information
provided in a narration as per the practice and skills of a storyteller. However, this together
involve other related fictional characters of a story whose acceptance is being configured through
this term by together scrutinizing other hypothetical substances that exists in the world of stories.
This term focalization was hereby originated in substitution of two other important world
in the world of cinemas called perspective and viewpoint with a direct link among one other.
Although, Genette considered this word to be less similar to the two aforementioned terms. As a
result to which, the term focalization was specified to be a mere reformulation of the two terms
to define them altogether rather than delineating them separately (Akpome, 2014). Apart from
this, a general demonstration of the standard thought of viewpoint is also described with a
correspondent outlook. Whereas, such description of the term focalization has been argued to a
great extent and has been stated it to an underrating of the abstract deviation among focalization
and other conventional terms.
It basically emerged within narratological concepts to be applied in literary genre and the
narration of a film by together determining the styles of writing and expression. This is on
considering the statement given by Tolton as a spectator of a scene from the film Ascenseur pour
l' echafaud by its narrator named Louis Malle where an undetermined exit from the balcony was
claimed from the narrative point of view (Dixon, 2017). This in turn created a dilemma to
differentiate among the terms narration and point of view that was inexplicable as per the
modern concept of narratology. This in turn introduced an accepted term called focalization to
distinctly specify the two leading terms narration and point of view in the world of cinema where
the spectators can easily distinguish among these terms and their significance that somehow
differs from one other.

Firstly being introduced by the French literate theorist this term was divided into three
leading types to explicate a well-defined degree of each one of them. These were zero, internal
and external with assorted typology of all. The foremost type called zero focalization consider
the unfavourable judgement of a customary English-language that is narrative to the witnesses
(Kossew, 2017). It is however in context to a wise and knowledgable narrator such as Pouillon
who have presented the idea of “vision from behind”. This concept is further symbolized by yet
another well known person named Todorov in the field of narration as 'Narrator > Character' that
means a greater role of the narrator who is believed to have more knowledge than that of the
character playing any of the fictional roles.
Another term reflecting the second type of focalization is internal in nature which is
further demonstrated by the formula, 'Narrator = Character'. This shows an equal state of both the
narrator and character where a narrator is responsible to speak only the things that are already
known by the character (Macken-Horarik, 2016). It is further linked with the two specific terms
of narration namely “point of view” that comes after Lubbock and “restricted field” that comes
after Blin. However, Pouillon says it “vision with”. The third term called external focalization
also specifies yet another formula that is 'Narrator < Character' which signifies a less expression
of a narrator where their spoken terms over here is not in equivalence to the knowledge of the
character. This is also specified as a behaviorist or objective narrative which is further being
classified as “vision from without” by Pouillon.
Focalization is therefore said to have a direct relationship with that to the concept of
narration where both are highly linked to each other. In fact, a narrative is being presented via an
accurate usage of focalization that is then specified as an perspective to narrate an idea. There
exists different style s of focalization that in turn creates various forms of narration to present
contrary conceptions of a character (Nünning, 2015). One can hereby consider referring to the
idea of focalization used by Hitchcock that in turn assured a sense of anxiety in the form of
suspense that in turn led to the production of a drama. It was however done with a purposeful
agenda of envisioning such anticipatory effects that cannot be produced by the character.
It hereby represents a superior range of cognition that is largely responsible for the
creation of suspense which then reflects as the essence of the presented drama. Basically, it is a
spectacular sarcasm when a suspensive drama is produced at the time the audience is already
aware of the possible outcome (Unsworth, & Thomas, 2014). It is also due to any alternate

cognition that is concerning the act displayed on the projection screen. However, the perspective
that is being presented through a narration is crucial for the presentation of a superior set of
knowledge. This is for instance to refer to a film called “Psycho” released in the year 1960 in
which its two main characters named Lila and Bates where playing a scene and where Lila was
upstairs in search of something in bates room and Bates is downstairs moving upward.
However, the former character named Lila is unaware of this fact where the audience is
allowed to perceive the scene and is anxiously waiting for the reaction of both the characters
when they will be confronting each other. In a similar anticipation, the audience is together
evident to hold their breathe and hope that may Lila comes out in time (Allan, 2015). Herein,
every slow motion of Lila is apparent to intensify a panic situation in this scene. The film
director Hitchcock has hereby referred it to be an objective and distant view that is being used
for the production of a suspensive drama. It is basically in support of the narration type and the
focalization style that in turn provides a significant range of knowledge and information that
concerns with the idea of presenting the cinematic characters with a controlled depiction of each.
This is mainly in context to yet another factual instance of a film named “The Big Sleep”
released in the year 1946 provisioned a fixed screening position that further displayed an
objective and sealed off focus on the supporter named Marlowe who was the play-writer of this
film (Brotchie, 2017). However, on relating this concept of Hitchcock’s with that to the previous
illustrated film named Psycho, there existed a huge discrepancy in both forms of suspense with
no similarity in them where Marlowe was not proven to be a superlative script writer. It is mainly
due to some less coherent thoughts and ideas that are often not understandable by the audiences.
It can be further explicated by the attempt made by Marlowe to make a film with more
mysterious or fascinating facts that cannot be revealed by the audiences until and unless it is
itself being disclosed in the film at the end. An unknown clause towards the interventions and the
deductions of the film by the audiences often reflects an incorrect style of making a film
(Fjällström & Kokkola, 2015). This together led to several assertions in opposition to the film
named “The Big Sleep” where in its comparison, Marlowe's scrip writing based on Chandler's
book was referred to be much more interesting due to its constant coherent narration that
depicted the work of a skilled worker in the field of narration.
There together existed a comparison among “The Big Sleep” and a film based on a
different style called “Double Indemnity” released in the year 1944 with a vital presence of both

objective distance with that to the previously mentioned film along with a subjective mode of
focalization (Lanser & Rimmon-Kenan, 2016). Herein, the audience was together allowed to
attain a knowledgable position that was similarly used by Hitchcock in the film named “Psycho”.
This film began with a stumbling shot of Walter Neff where the audience was already informed
about his destiny. Herein, a flashback technique was used which is generally termed as analepsis
in technical language to further proceed with the narration of the way in which Neff will come to
shot.
This in turn created a noticeable reading of all followed events. This in turn presented an
advantaged position of the audience to clearly understand the series of events that ultimately led
to the destruction of the character Neff that was simply created by once own knowledge
(Nannicelli & Taberham, 2014). On comparing the cinematography of this film in terms of the
factors affecting its narration, most of the people did not supported the production of “The Big
Sleep” due to its interpreted mode of focalization that did not represented the style of an original
text and not due to any imperfect technique. It is basically in comparison to Chandler's novel that
is more subjective in nature and contains similar style of reasoning the focalizer or voice of the
novel.
For a better understanding of this concept of narration in direct alliance to focalization,
Murray Smith's Cognitive theory based upon three of its main elements namely recognition,
alignment and allegiance. This is often known as model of sympathy from a cinematic
perspective and presents a more complex analysis of sympathy (Cognitive Theory: Recognition-
Alignment-Allegiance, 2017). It further composed of three main elements for the recognition of
the character, filmic alignment with moral commitment that in turn demonstrates the film makers
to adopt such ways through which they can guide the sympathy and affectionate responses of the
audiences even at the time of displaying the most immoral and atrocious fictional characters in
the film.
This is for instance to consider one of the most illustrious film called “Shutter Island”
based on four main themes where all were aligned to one other. All those themes played a greater
role in impacting upon the audience and resulted in putting a lasting impression on them
(Thomas, 2016). These themes involved an explored reality, mental illness, guilt and trauma. The
foremost theme called reality explored further depicted a factual instance of appearance versus
reality. Into which, the audience could not believed the illustrated characteristic of Teddy as a

US Marshal and faced difficulty in accepting this fact where he was together showed as a patient
suffering from mental sickness and is admitted to an asylum for further treatment.
However, he was himself shown in a state of dilemma and an accused victim for being a
Marshall who is basically attempting to solve the mystery of a patient missing from the hospital.
Another theme depicted the impact of war and trauma on the metal well being of a person where
Teddy was portrayed as a soldier who fought in the World War II (Cox, 2010). Into which, he
also assisted people in getting free from the consolidated camp of Dachau with several
flashbacks that displayed his delusions of a girl whom he could not saved. Lastly, there together
existed a theme of “Shutter Island” depicting the usage of mind changing dose that are being
used to treat such unknown patients like Teddy who are unaware of their past.
However, the entire story pictured a dramatic suspense to the audience that made them
unable to identify whether the patients admitted in the asylum were actually afflicted by their
mental illness or its the impact of the drug that they are being provisioned in the asylum. This
suspense made it difficult to interpret at times where it was otherwise reflected a spell bound
narration (van Duijn, Sluiter & Verhagen, 2015). It is on comparing the above illustrated way in
which the film named “Shutter Island” was presented to the audience with that to the proposed
model of Muller Smith, one cannot relate to the three main elements of the model. This is mainly
on the basis of the criticism of the cinematographers who largely argued to its visually analytical
conception that did not supported the modern concept of focalization.
In context to which, many cinematographers asserted it to be a highly old fashioned thrill
that ultimately ended up with a big plot suspense for the audiences. This in turn led to a troubling
conclusion of yet another film that lastly became a concerning matter for most of the cinema-
goers (Holtreman, 2010). This is for example to refer a terminal scene of the film where a
character named Dr Sheehan called out the name Teddy at the very end of the film and many
more such incidents displayed in the film. This in turn clearly indicated no respect to the feeling
of the audiences if related to the three leading elements of Murray's model that asks for a
courteous regard to the sympathy and cognitive perspective of the audience through the produced
film.

REFERENCES
Books and Journal
Akpome, A. (2014). Dispersal of Narrative Point of View in Chinua Achebe's Anthills of the
Savannah. English Academy Review. 31(1). 19-37.
Allan, C. (2015). Towards an analysis of the utilisation of metafictive strategies in postmodern
picturebooks. English in Australia. 50(3). 35.
Allan, C. (2017). Digital fiction:'Unruly object'or literary artefact?. English in Australia. 52(2).
21.
Brotchie, A. (2017). Sequentiality in the narratives of Tirax, an oceanic language spoken on
Malakula, Vanuatu. Narrative Inquiry. 26(2). 340-375.
Dixon, M. (2017). THE UNRELIABLE PERPETRATOR: NEGOTIATING NARRATIVE
PERSPECTIVE AT MUSEUMS OF THE THIRD REICH AND THE GDR. German
Life and Letters. 70(2). 241-261.
Fjällström, E., & Kokkola, L. (2015). Resisting focalisation, gaining empathy: Swedish
teenagers read Irish fiction. Children's Literature in Education. 46(4). 394-409.
Kossew, S. (2017). Kate Grenville’s Transgressive Narratives. Claiming Space for Australian
Women’s Writing. 127.
Lanser, S. S., & Rimmon-Kenan, S. (2016). Israeli–Palestinian narratives and the politics of
form: reading Side by Side. European Journal of English Studies. 20(3). 310-325.
Macken-Horarik, M. (2016). Grammar in wonderland: What might a re-imagined grammar look
like in contemporary school English?. Metaphor. (5). 4.
Nannicelli, T., & Taberham, P. (Eds.). (2014). Cognitive media theory. Routledge.
Nünning, V. (Ed.). (2015). Unreliable narration and trustworthiness: intermedial and
interdisciplinary perspectives (Vol. 44). Walter de Gruyter GmbH & Co KG.
Thomas, A. (2016). Enhancing understandings of the literary element of character using
elements from Systemic Functional Linguistics. English in Australia (0155-2147). 51(2).
Unsworth, L., & Thomas, A. (2014). English Teaching and New Literacies Pedagogy:
Interpreting and Authoring Digital Multimedia Narratives. New Literacies and Digital
Epistemologies. Volume 61. Peter Lang Publishing Group. 29 Broadway 18th Floor, New
York, NY 10006.
van Duijn, M. J., Sluiter, I., & Verhagen, A. (2015). When narrative takes over: The
representation of embedded mindstates in Shakespeare’s Othello. Language and
Literature. 24(2). 148-166.
Online
Cognitive Theory: Recognition- Alignment-Allegiance. 2017. [Online]. Available through :
<https://filmblog50.wordpress.com/2017/04/27/cognitive-theory-recognition-alignment-
allegiance/>. [Accessed on 12th July 2017].
Cox, D., 2010. Shutter Island's ending explained. [Online]. Available through :
<https://www.theguardian.com/film/filmblog/2010/jul/29/shutter-island-ending>.
[Accessed on 12th July 2017].

Holtreman, V., 2010. Shutter Island Ending Explanation & Discussion. [Online]. Available
through : <http://screenrant.com/shutter-island-spoilers-discussion/>. [Accessed on 12th
July 2017].