Group 3: Textual Analysis Essay (The Gunfighter)

The Gunfighter is a popular short film that's been directed by Eric Kissack, and written by Kevin Tenglin. It's an example of short film exploiting a specific genre, which is in this case the western genre. Similarly, The Black Hole is a short film that exploited the science-fiction genre - both have used common techniques of intertextual references along with new ideas to create an inventive and original narrative. The popularity of the film is reflected through the amount of likes it and views it has received on Youtube. It has been uploaded through several accounts, the main one has a viewing of 231,000+ views. It has also garnered praise from critics and fans alike for the original storyline, as well as the comic value it provides.

The film begins with Western-Esque music (non-diagetic) and the establishing shot mirrors this. The shot itself is a wide and a long shot, though it focuses primarily on the gunfighter through camera placement - he is in the middle of the screen. The shot is parallel to the music because of the mise-en-scene, the lighting, clothing, props, background and the set reflects this.

The following shot carries on the non diagetic music, and is a medium shot of the gunfighter walking into the saloon. There is the diagetic music of the inhabitants of the saloon fraternising and socialising which we can hear in the background. However the volume of the music is still at a higher priority as it's louder, connoting the importance of the gunfighter proceeding into the bar over the people already there. We see The Gunfighter at a closer glance. The Mise En Scene and facial characteristics of the gunfighter are similar to Christian Bale's in the Hollywood Blockbuster 3:10 to Yuma - an intertextual reference perhaps? Following this is a deep depth of field, which is carried through with a smooth tracking shot where the camera is more than likely on a dolly or track.

After this is a number of shots that show the location of where the film is set reflecting the clientele of where the gunfighter is. There are prostitutes, gamblers and regulars having a drink. The camera switches back to the rear of the gunfighter, where a diagetic narrator voice is heard. The camera focuses on the bewilderment of the gunfighter while he turns around, followed by quick cuts to focus on the other two groups of people. They are all medium shots where the actors have filled enough screen space to draw the audience's attention to them. They can then convey the irregularity of this scenario, which is what happens. The diagetic sound of the narrator carries on through while letting the audience instantly know of the gunfighter's backstory. It fits the stereotype of the post-1950's Western gunfighter theme, another, albeit more general intertextual reference.

The plot changes direction as the narration does. The narrator reveals a plot from two brothers, known as "The Henderson Boys", to kill the gunfighter. The camerawork becomes erratic and more fast paced, with a diagetic sound effect as it wipes from the gunfighter's right towards them, and zooms in. The faced past nature of the editing and camera shots relfect the intense nature of the plot.

The camera then cuts to the gunfighter standing in the middle of the room with a beam of sunlight above him. This connotes again, a sense of importance about the gunfighter. It also is introduced the first time a character uses the voice to their advantage, approaching another character through what has been said by the narration. Thus the almost "angelic" light represents this on the screen. Note how the gunfighter is positioned in the middle of the camera to highlight his importance. The gunfighter confronts the brothers, and they claim they aren't planning an ambush. Following this the narrator's voice claims a lie.

The use of the narrator so far has been to firstly introduce and set the scene. It removes narrative enigma as it answers the questions that an audience member might have. It then promotes an intense storyline as it reveals the gunfighter's past as well as the ambushing of the gunfighter, following by the accusation of the brothers lying. This presents a well-established plot device. There are many directions the film can go as well as the intriguing storyline, keeping the audience's interest captive.

This scene is pivotal as the other characters in the bar begin a relationship and an interaction with the voice, starting with the brothers. There are numerous cuts and close ups to convey the frustration of the brothers when the voice reveals their intentions to kill the gunfighter. The editing again, is erratic until the voice speaks leaving the actors to convey the appropriate facial expressions and to act out the script. Comedic value is present in this part of the clip beginning the the conversation between the voice and Tommy, the older Henderson brother. It resumes through the fast(er) editing, focusing on the younger Henderson as he plots to kill the gunfighter amidst this. Once his futile, yet humorous plan is revealed, the camera shifts its attention after spending time focused on the younger Henderson, Johnny, to the rest of the bar. This breaks suspension of disbelief if not already done so as the audience is introduced to a degree of normality during this, as the other characters laugh at Johnny's plan.

The camera then focuses the attention back onto the gunfighter while the plot begins to lose its first encounter of comedy, and begins the second. The narration mocks the character of Johnny, and as the camera cuts back to a close up of his face the validation of the voice's mocking is revealed true. Following this the focus shifts back to the gunfighter in a closer medium shot. The narration and comedy is dictated by the voice as it insinuates the gunfighter is a closet homosexual, as well as the younger Henderson. This smashes the archetype of Western gunfighters, as they are perceived to be and are portrayed as Macho, with a direct love interest/fling. For example, Clint Eastwood in High Plains Drifter, which has a similar character background to the gunfighter in this - mysterious, macho, straight and out of town.

The gunfighter argues with the Voice, who comments on a "sea of confusing emotions". The camera then cuts to a medium-long shot of the prostitute Sally and her acquaintances to highlight the confusion they hold towards the statements revealing his countertypical behaviour mentioned. The camera cuts back and forth to the gunfighter and the other characters, to highlight the absurdity of what is occurring. The Voice stops and allows the audience to understand and hear the frustration in the gunfighter's voice, highlighting his agitation and frustration through the use of dialogue. Following this the medium shot shows the gunfighter walking back towards the bar, followed by a close up of him pouring an alcoholic beverage. Dialogue continues and the camera cuts to a close up of the drink being splashed in frustration.

Further dialogue between the pivotal characters and the voice continues, with the dialogue leading to a character revealed to having an affair with another character's sister.