“Unexpressed emotions never die. They are buried alive and will come forth later in uglier ways” (Freud 1920). Jennifer Kent’s debut feature The Babadook (2014) is a chilling parable on the monstrous manifestation of repressed emotion. This essay will argue that the film combines cinematography, sound and mise-en-scene to explore its subtextual themes. Through analysis of the Babadook’s arrival scene, this essay will explore some of the many interpretations of this thematically rich horror film.

Cinematography and mise-en-scene combine in the sequence to encourage interpretations of the Babadook as a purely psychological threat. Locked off establishing shots of the Venek household break with the generic denotation of looming danger. This stagnant cinematography in place of more traditional stalking POV shots suggest an omnipresent threat with no physical form. While this scene is unique in that it depicts the Babadook briefly as a physical being, these establishing shots leave open the interpretation that the monster may exist entirely within Amelia’s sleep deprived mind. Immediately audiences are invited to consider what the creature may mean, rather that the danger it literally poses. Mise-en-scene compounds the unreliability of Amelia’s vision. The setting of the scene within Amelia’s bedroom puts the protagonist in a suggestable state. The previous blending of dreams and reality have conditioned audiences to question the validity of this scene in particular. Set design effectively draws on experiences the audience may have with this disorientating state of half sleep. A coat stand to the right of the frame, and an armchair with clothes hung over the back, appear almost as imposing figures in the darkness. Audiences may be familiar with such startling nocturnal illusions, and the relief when they turn out to be inanimate. An element of perceptual subjectivity is introduced through these delusive monsters in each corner of the frame. The cinematography and mise-en-scene enable the Babadook to be depicted while leaving its physical existence uncertain. This ambiguity encourages deeper interpretations of its meaning.  

Sound design and cinematography combine to distinguish the Babadook as a manifestation of repressed grief. A diegetic sound effect of howling wind underlies the scene prior to the Babadook’s arrival. A cross comparison of this scene with the opening dream sequence reveals a similarity in this sound and Oskar’s slow motion screams. Similarly, the second round of scratching sounds echo the crunch of warping metal in the dream. These subtle call backs imply that, on this restless night, Amelia cannot perish intrusive thoughts of Oskar, and is being overwhelmed by grief. The soundscape of the scene is constructed from Amelia’s subconscious, implying audiences to interpret the Babadook as a manifestation of that same repressed grief. In this scene, the boundaries of the conscious mind and the id are non-existent. This reading of the Babadook as repressed grief is strengthened by the cinematography of the sequence. An innovative camera shot follows Amelia under her duvet. Until now, an aerial shot over Amelia and Samuel has created a disconnect between Amelia’s perspective and that of the audience. Alternatively, this shot from beneath the duvet serves as a moment of perceptual alignment for the audience. Both Amelia and the audience have an obstructed view of the horror. This response from Amelia to retreat beneath the covers mimics her inability to face up to her grief. 

The unidentifiable nature of aural and visual elements denote the difficulty of raising children as a single parent. The sequence contains sound design and visual effects that can’t quite be deciphered. This leaves Amelia, as Samuel’s guardian and protector, defending her son from an unknowable threat. The depiction of the Babadook before it materialises as humanoid is completely uncanny. The sense of helplessness in the face of an unknowable threat reflects how Amelia has been forced unwillingly and instantaneously into single motherhood. The protections and sense of normalcy that the nuclear family affords were ripped away, and Amelia is left to guide Samuel to manhood alone. Amelia’s parenting has been scrutinised by Samuel’s school, the doctor and the childcare workers, but these institutions have ultimately failed to provide any support. Thus, in this moment where Amelia must protect Samuel more than ever, the threat presents as surreal and unidentifiable. The negative cycle that single parents who aren't supported can fall into on display. Amelia gives Samuel sedatives out of sheer exhaustion, but his sedation prevents him from defending himself in any way. When Amelia is ultimately possessed by the Babadook, it leads to greater abuse of Samuel. The indecipherable nature of the sounds and images presented ask viewers to consider if single parents are adequately supported. 

The sound design and the scene’s narrative significance combine to create meaning on the subject of repressed maternal ambivalence, as well as the dangerous expectations on mothers. The scene is scored to a non-diegetic xylophonic melody. Jed Kurtzel’s composition invites connotations to lullabies. The use of an instrument that, for many, is received as a childhood toy, may strengthen this association to infancy. The corruption of these innocent memories can be interpreted as reflecting Amelia’s growing contempt and suspicion of Samuel. With Samuel’s birth and her husband’s death so intertwined, Amelia secretly blames Samuel for the tragedy. This irrational wariness of Samuel is being revealed by unexplainable occurrences within the house. This maternal ambivalence plays out through verbal outbursts. Amelia continues to apologise for her admonishments, while never addressing the root of her ambivalent feelings. Through Kurtzel’s score, the Babadook takes on new meaning as the fear of the creation destroying the creator manifest. This reading is strengthened by the significance of the scene in the greater narrative. The Babadook’s arrival marks a turning point whereby Amelia begins to mistreat Samuel. A vicious cycle of maternal shame and projection has taken hold. Amelia represses her animosity towards Samuel from fear of not meeting the societal expectation of the perfect mother, and in turn this repression will be weaponised by the Babadook to have her abandon her maternal instincts and harm her child. 

The mise-en-scene of the Babadook’s arrival denotes a robbed femininity in motherhood and the anxiety in finding new love in widowhood. In the scene, Amelia has lost the sanctity and privacy of her marital bed. Even the family dog intrudes her sanctuary. Her life, now split between her responsibilities as a mother and as an aged carer, has become asexual. This is reflected not only in the staging of the characters within the bed, but the arrangement of the characters as well. Previously in the film, Amelia has slept on the left side of the bed. In this scene, however, Amelia is forced onto her unpreferred side. This signifies that her personal life is being further encroached upon. This speaks to an expectation on mothers to relinquish their right to sexual autonomy. Although Amelia’s role as a caregiver has undoubtedly impacted her romantic life, the film hints at a deeper pathology around exhibiting vulnerability in widowhood. Earlier, Amelia blames Samuel’s behaviour for ruining her chances at romance with her coworker. The audience, however, watches Amelia immediately retreat in shame to the basement, the room that symbolises the compartmentalisation of her husband’s memory. This suggestion that Amelia’s inability to move on spurns from a psychological hang up pays off in the Babadook’s arrival scene. When the Babadook finally takes human form, it is costumed in traditional male clothing. This caricature of a predatory man suggests a trepidation towards emotional vulnerability. Connotations of Jack the Ripper in the Babadook’s attire strengthen this interpretation. Since the death of her husband, Amelia longs for the idealised romance she sees on TV, but the thought of being open to love has become frightening, and sexuality has become shameful. When the monster ultimately enters Amelia against her will, her worst fears towards romantic vulnerability have been metaphorically realised. 

Cinematography, combined with elements of mise-en-scene, such as lighting, colour and in-camera practical effects, depict the horror of untreated depression. These elements, combined with the narrative facts of the scene, invite criticism of mental health services, particularly the over prescription of antidepressants. As Amelia lies restlessly, she stares at a sliver of light on the ceiling. The ae point on the ceiling is shown five times in the sequence. The camera’s repeated fixation on this beam of light invites interpretations of its significance. The first instance of the shot occurs before the suspense of the scene has set in. The beam of light in the encompassing darkness represents Amelia’s last shred of hope. After the Babadook appears all optimism is lost. When the Babadook lurks above Amelia's bed, it materialises within the beam of light. The Babadook, as the culmination of all Amelia’s unresolved issues, has literally blocked out the last of her hope. Subsequent repetitions of the shot are given new meaning by the monster’s presence. The low lighting of these ceiling shots render them in a greyscale colour palette. This black and white composition reflects Amelia's depression, but its combination with a practical effect provides a deeper understanding of just how terrifying the illness can be when untreated. As the Babadook moves through the beam of light it is depicted using stop motion animation. The black and white palette, combined with a practical in-camera trick, indicates that Amelia’s world has converged with the Georges Méliès inspired world of the Babadook. As later depicted on TV, the Babadook’s world mirrors the mind of the manic depressive; hopeless, confusing, fanciful and terrifying all in equal measure. This combination of lighting, colour and effect not only indicate that Amelia is suffering from depression, but give an understanding of how the illness may feel for someone suffering without support. The narrative facts of the scene criticise the role public institutions play in assisting people suffering from depression. Samuel is drugged as the Babadook attacks. Throughout the film, Samuel asserts himself as his mother’s protector from monsters. While Samuel’s active imagination and unfiltered expression frustrates his mother, these qualities seem to have readied him for the Babadook, and in this scene his incapacitation has made his mother vulnerable. This can be read as a comment on the over prescription of antidepressant medication in suburban Australia. Ultimately, Amelia conquers the Babadook by managing to express herself in the way Sameul does. Prescription drugs, on the other hand, have made an attack from the subconscious more devastating. Samuel being tranquilised in this scene can be read as a criticism of mental health services that resort to antidepressants over talk therapy.   

The Babadook is a cautionary tale on how the repression of necessary emotions leads to unexpected and monstrous consequences. The Babadook’s arrival scene puts forward the main thesis of the film, while also hinting at the social issues the film critiques. These meanings are constructed visual and aural elements combine with the narrative to construct these meanings, and express the metaphor at its core.  

Filmography

The Babadook. 2014. [film] Directed by J. Kent. Australia: Umbrella Entertainment.

Bibliography

Freud, S. and Strachey, J., 2001. Beyond the pleasure principle. London: Vintage