|By J. Trent Adams|
The camera fetishizes the female form, rendering it phallus-like so as to mitigate woman's threat.Indeed, Legs represents a direct threat to the males of the town. Considering Haywood-Carter as the author of the film, however, it is apparent that she and Sigel are twisting Kaplan's observation and using it to their advantage. Whereas Kaplan was arguing against the use of the tilt-reveal, Haywood-Carter embraced it as a way to tap into the language of film to convey her meaning. The shot clearly defines Legs as being imbued with dangerous power.
There is another potent metaphor presented during the exposition: the use of photographs to capture a pivotal moment out of time. The characters are introduced, one at a time, by Maddy as she roller-blades through the halls of her high school taking Polaroid snap-shots. Throughout the film, the photographs are skillfully used to underscore various events along the girls' trip to womanhood and social awakening.
of using pictures within the greater picture of the film was also used
to great effect in Jocelyn Moorhouse's
Proof. Martin (Hugo Weaving), as
the blind protagonist, can only see the world around him by having his
photographs described to him. By distilling this technique and putting
it to use, Haywood-Carter is able to quietly say an infinite amount
about the girls in Foxfire.
© J. Trent Adams