You’re at the Center, and So Am I

by Xan Black

"The star’s physicality and particular way of moving is a central focus [...], and this focus is, of course, most pronounced in the dance numbers where the camera, mise-en-scène, and editing all conspire to place the performer literally center stage."

Erin Brannigan in Dancefilm: Choreography and the Moving Image

BTS’ music video for “Black Swan” is an example of a perfect dance film. It’s a kind of cine-choreo that perfectly utilizes elements of its setting—the theatre. And instead of using it as solely a stage, the theatre almost feels like a character itself as the camera rotates it to keep BTS in place.

In theatre, your eyes are usually drawn to center stage where the point of action takes place. In film, however, your eyes are drawn to the subject and where the camera places them, regardless of whether or not they’re at the center of the frame. “Black Swan” uses both of these conventional rules in that the video places the group immediately at center stage as well as at the center of the frame. The camera moves in many directions around them, yet they remain centered at all times. This serves to further emphasize our characters, keeping our attention is on them throughout the entirety of the music video.

Let’s test this out further by using the Rule of Thirds, a 3x3 grid created for compositing off-centered shots to make them pleasing to the eye. It is common practice to place the subjects at the points of intersection. Here are a few examples of its use in the “ON” music video.

However, the Rule of Thirds is broken in the Black Swan as none of the points of intersection are used. With our characters perpetually center-screen, we’re left to make sense of their dark surroundings.

Yoongi’s first line states, “the heart does not beat anymore when listening to music.” The fear is of being stagnate in their art, in their careers. The central framing reflects this fear by almost caging them in, surrounded by shadow.

It’s unsettling as we, the viewers, explore the venue in ways that are unconventional to the filmic eye. There’s wide, disorienting shots that make our characters appear both colossal and small. The viewer is made to feel a range of disquieting emotions with the composition of these shots.

We either see them through single source lighting, which is light coming from a single direction, ambient lighting, which is the light casted from the theatre (i.e. the spotlight, the above head lantern, the chandeliers, etc.), or a minimal fill light to brighten up their shadows. Throughout it all, the contrast between light and dark is vast, with deep shadows dominating most of the visual space, emphasizing the creeping fears the song describes.

The turning point of the track is second pre-chorus. “In my ears are only fast heartbeats, bump bump bump / With my eyes open, into my forest, jump jump jump / Nothing can swallow me / I cry out with all my strength.” This is a direct contrast to the previous, which says, “In my ears are only slow heartbeats, bump bump bump / I try to escape, but into the maw, jump jump jump / No song can reach me anymore / I cry out a silent cry.”

A silent, unheard cry is now loud, fierce, and futile escapes have become unyielding strength. In the “Black Swan” Art Film performed by MN Dance Company, this evolution is depicted with the main character slowly, beautifully, turning into a swan.

The official music video shows this impact with the last frames: Jungkook on the balcony, looking down at his fading shadow still trapped on stage below him. This is the first and only time he is not centered, but on the left of the screen, walking free of restrictions, of both visual framing and emotional fear alike.

Song translation credits: doolset.