On the Waterfront: Scaffolding Essay

Topic Sentence + Thesis

In “On the Waterfront”, Elia Kazan employs a wide range of cinematic techniques to (refer to question). Through characterisation, lighting, camera angles, framing, and sound (adjust according to question), Kazan (refer to question).

refer:

tone & atmosphere: Kazan helps us to share in the atmosphere of the film

empathy: Kazan helps us to share in Terry’s journey from a morally conflicted man to a hero

heightened impact of moments of crisis: Kazan creates moments of heightened emotional intensity

insights to a central character: through camerawork and imagery, Kazan provides us with a deep and accurate understanding of Terry’s journey from a morally conflicted man to a hero.

imagery: the way in which an author shapes our emotional reaction to characters can enhance our engagement with any narrative, and in…empathy…Kazan creates a series of powerful images that allow us to share in Terry’s journey from a morally conflicted man to a hero.

In the early stages of the film, Kazan (refer to TS) through visual imagery associated with darkness, secrecy, and moral ambiguity // Kazan provides us with insights into Terry’s moral ambiguity through.. / Kazan deliberately limits our empathy with Terry through…

• Terry is frequently framed in low-key lighting, his face partially obscured by the shadows as he moves through fog-filled docklands dominated by looming cranes and industrial structures. This visual half-light mirrors his ethical position as a man who “didn’t see nothing” and “didn’t know nothing”.

• The use of long shots that place Terry among the dockworkers further diminishes his individuality, making him appear complicit in a corrupt system rather than a victim of it.

Sound and auditory imagery also play a role here, as the intrusive foghorns and echoing footsteps create an atmosphere of threat and surveillance.

• (for character only) This heightens our empathy/appreciation for Terry/his mindset as it suggests that Terry’s silence is not accidental but conditioned by fear.

Kazan then (refer to Q) by shifting his use of framing, particularly through closeups that exposes Terry’s vulnerability. This is most evident in scenes involving Edie Doyle, where the camera lingers on Terry’s hesitant expressions, averted gaze and tense body language. Alley scene

• In the alley scene, Terry is often framed slightly lower or partially blocked, while Edie is more clearly lit and position, visually reinforcing her moral clarity in contrast to his uncertainty.

• When she challenges him, asking “Which side are you with? The good people or the bad?”, The closeup on Terry captures his discomfort and internal struggle, encouraging the audience to recognise the cost of his moral paralysis and confused mindset rather than simply judge it/him.

The taxi scene represents the film’s most powerful use of cinematic technique to (refer to Q)

• Kazan confines Terry and Charley within a tight, claustrophobic frame, turning the car into a symbolic prison.

• The camera remains very closely focused on Terry’s anguished face, as he delivers his famous lament: “I coulda been a contender…Instead of a bum”

• The absence of music in this scene further intensifies its emotional impact on us, forcing the audience to focus on Terry’s voice, facial expressions, and visible regret.

• His accusation, “You were my brother, Charley. You should have looked out for me,” is accompanied by a closeup that captures his wounded sense of betrayal, transforming him from a passive accomplice into a man conscious of what has been stolen from him. → Here, Kazan (refer to Q) because we share in Terry’s sense of confinement and exposure.

Kazan further strengthens (audience empathy/q) through visual contrasts that mark Terry’s moral development.

• As Terry begins to resist Johnny Friendly’s control, the cinematography subtly shifts. Low angle shots are increasingly used during confrontations, particularly in the dockside scene, making Terry appear physically stronger and more resolute.

In the church basement attack, the use of handheld camerawork and distorted shadows places the audience inside the chaos, aligning us with Terry’s fear and confusion rather than / as he witnesses the brutality of the mob.

• Father Barry’s rebuke “This is my church!”, delivered from a low angle, reframes the setting morally, preparing the audience for Terry’s eventual stand.

The final sequence of the film (refer to Q) (through imagery of endurance rather than triumph)

• Terry’s bloodied walk towards the docks is filmed in sustained shots that emphasise physical pain and determination. The jeering crowd, Johnny Friendly’s taunts, and Terry’s staggering movement combine to create a moment of heightened tension.

• Unlike earlier scenes, where Terry blended into the crowd, he now occupies the centre of the frame, visually separated from both the mob and the corrupt leadership.

• The absence of dialogue at this point allows imagery alone to shape our emotional engagement with…

Ultimately,

Kazan’s careful manipulation of cinematic techniques …. refer to Q