The character of “The Bride” is represented as being hopeless in scene one through the use of sound and mise-en-scene. This is conveyed with the colour scheme being black and white, which portrays the idea of “The bride”’s life coming to a close as the colour black connotes death and the lack of hope. Whereas in the second coffin scene the colour scheme switches back to full colour representing the new found hope and it symbolises how her life isn't ending as there is no more black schemed image. Another difference in the mise-en-scene between the two coffin scenes is that the actor seems terrified in the first scene using struggled movement and shocked facial expression to reflect a terrified characteristic. However, in coffin scene two the actor is portrayed as being calm and collected with the lack of useless movement and her lack of expression, which gives a serious and determined look throughout most of the scene.
In these scenes, the difference in sound techniques between the two scenes symbolises the changing emotions of “The bride”. For example in the first scene, there is the frequent use of harsh diegetic and synchronous sounds to portray her panic, which is mostly done through the use of the music, which is non-diegetic however, with a loud drum beat to symbolise a heart beat. Contrastingly the music in the second scene increases in frequency as the scene progresses to represent how the chance of escape increases, this also coincides with the actions of the scene as “The bride” is determinedly pounding the coffin door to break it which is the method of her escape.
Another instance where sound techniques are manipulated is the use of the diegetic sound of “The bride” breathing. In scene one the breathing patterns are of high frequency and short volume, which represents the alarm and shock the character is in. Whereas in the second scene, her breathing is more calm, and spaced out to reflect her change in perception of the situation and it conveys to the viewers that she is certain about an escape method.

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