Analysis Of The Messages And Cinematic Techniques In Hidden Figures

There are various messages communicated to the audience throughout Hidden Figures, with the overall narrative adopting a position of anti-racism and a derisive perception of bygone 1960s segregation laws. A biographical drama that incorporates elements of comedic relief, the film depicts social values upheld in 1960s Virginia throughout the overall diegesis, carefully epitomizing the racism that saturated the workforce and general public without situating its protagonists to be merely pitied by the audience. Instead, the filmmakers, alongside actors Taraji P. Henson, Octavia Spencer and Janelle Monáe, who portray Katherine Johnson, Dorothy Vaughn, and Mary Jackson respectively, celebrate the intellect and wit of the protagonists through engaging performance and cinematic techniques. Hidden Figures intends to affirm the capabilities of women in the workforce, and could almost be described as a feminist text through its depiction of strong female protagonists who represent real-life figures.

Combining elements of drama, comedy, and history, the film resonates with a broad audience. People with an interest in NASA’s early years may particularly enjoy the logistical element of the film for its exploration of engineering, mathematics and the intricacies of physics involved in the ‘space race’. However, on a more poignant level, the film intends to invoke emotion within people who value and celebrate the rights of women, and in particular, black women. The ideal audience would receive the text with both sympathy and applause for its three engaging female protagonists who have been an integral, but obscure, part of NASA’s history. Additionally, Hidden Figures may particularly appeal to young people, especially girls, who aspire to become mathematicians yet possibly face prejudices similar to those depicted in the film due to their race or gender. The film has been considered so important for young people to watch that in January 2017, Los Angeles based TV writer Tess Rafferty raised over $5000 for children in underfunded schools to see the film and gain insight into its rhetoric of facilitating acceptance and opportunity for people regardless of race or gender. To further emphasise the importance of the film for children today, Actress Taraji P. Henson, who plays Katherine Johnson, has been particularly vocal about the significance of young black girls seeing the movie and being inspired to pursue careers in science. Henson has expressed how she “hopes this movie lets all girls know what math and science are dreams for them, not just for boys”.

As well as conveying rhetoric of acceptance and the need for the dissolution of racism through subject matter, the film employs conventions typical of both drama and comedy genres to entertain its audience. Examples of cinematic qualities evident are various lighting techniques that have been employed to convey different ambiences throughout the narrative. When in the comfort of their own homes or at their church, Johnson, Vaughn, and Jackson are illuminated in warm yellow tones, creating an inviting and homely atmosphere. There is a tangible dichotomy between these scenes and scenes of the women in the workplace. Throughout scenes shot at NASA, the lighting employed by the filmmakers is largely fluorescent and cold. Grey tones, bare walls, and minimal mise-en-scene elicit a sense of hostility, emphasising both the strict, ‘no-nonsense' calibre of NASA and the unwelcoming environment that greets the ‘computers’ of NASA.

The insults and indignities that the women incessantly endure at NASA are integral to retaining an element of drama but are also an unsettling representation of real historical occurrences. Surprisingly, the main antagonist of the film, Stafford, is played by The Big Bang Theory’s Jim Parsons. It would be expected that the majority of the audience would be aware of Parson’s infamous comedic role in The Big Bang Theory, and his insensitive, bigoted character in Hidden Figures is in stark contrast to his typically comical persona. Staffords sly acts of discrimination, such as erasing Johnson’s signature from a report stating “computers don’t sign reports” and marking out important parts of reports so she can’t read them are even more confronting to the audience due to the unexpectedly spiteful role taken on by Parsons. The characterisation of Stafford serves to remind the audience of the contemptuous regard black women were often held in, with his embodiment of prejudice values an uncomfortable reminder of everyday unfairness often faced by women in male-dominated workplaces. As a character that situates the audience to feel uncomfortable, or even angered, Stafford accentuates the film’s criticism of white supremacy and an embittered work culture.

The narrative does include elements of comedic relief, lightening what could otherwise be perceived as a solemn tale. Despite the serious issues of racial and gender bias being communicated in thought-provoking themes and dialogue, the overall tone of the film is kept light and optimistic by a breezy soundtrack. Lively melodies by Pharrell Williams and Benjamin Wallfisch are employed to help keep the overall tone of the film buoyant and hopeful, despite the serious issues at hand. Alongside soundtrack, comic elements of the script are inserted- Johnson’s mad ‘half-mile' dashes to the ‘coloured bathroom’ carrying stacks of books and wearing heels juggle tension and humour. Whilst these scenes might elicit a chuckle from the audience, soundtracked by upbeat music and demonstrating Katherine's grit, it, of course, reminds the audience of the underlying symbolism– the inescapable fact that the white majority in the 1960s perceived coloured people too subservient to even share the same bathrooms. This scene does ultimately incite a triumph for the black women at NASA, however, resulting in what could be described at one of the film's climactic moments. When asked where she goes ‘for forty minutes every day’, Johnson finally retaliates to the bias she encounters regularly, berating her workplace for its strict segregation, dress codes, and racism. In a deathly quiet, echoing room, a rise in vocal intonation enunciates her frustration when she exclaims: “I work like a dog, living off coffee from a pot none of you want to touch!”

It could be argued that the audience, whilst enjoying the film for its cinematic qualities, understand the relevance of its narrative in modern society despite being set 50 years ago. Although the segregation in Hidden Figures has been legally outlawed, the film still poses significance in modern America due to the timely nature of its distribution. Premiering in cinemas just months after Donald Trump’s inauguration, the film’s evident rhetoric can be discerned in Vaughn’s line to her sons:  “Just ’cause it’s the way, doesn’t make it right.” Not only is this quote relevant to the legal segregation of races that permeated the 1960s USA and the protagonist's evident disdain for discrimination, but it also speaks to the current political situation in the USA with familiar and uncomfortable relevance. We are at the precipice of an era where racism and sexism staining the American government seems extremely plausible. Trump’s choice of attorney general allegedly called the National Association for the Advancement of Colored People (NCAAP) “un-American,” and, in 1986, was even denied appointment as a federal judge due to an assemblage of racists slurs such as the aforementioned. NCAAP President and CEO Cornell William suggested, coincidentally around the same time Hidden Figures was released, that the current political governance in the USA will see the country regress to an 'old, ugly legacy… when civil rights for African-Americans, women, and minorities were not regarded as core American values'. As concerns for the progression of the rights of coloured people grow, it is evident that the tale of Hidden Figures is still a relevant screen text in modern society, and will consistently, and even at times uncomfortably, remind its audience of the workplace and everyday prejudice that should never again be a societal norm.

Hidden Figures is significant due to both is historical context, and because of the messages that it communicates to contemporary society. Whilst modern society has evolved to be more inclusive and generally reproachful of racism, prejudice against people of colour, as well as the degradation of women, is still a reality today. Hence, the film still poses relevance and significance. It celebrates the intelligence of three women who contributed heavily to the operations of NASA in the late 1960s, overcoming obstacles of racism and prejudice that were ingrained in a society that had scarcely overcome segregation. Various components of narrative functions serve to communicate the rhetoric of the film - that is, the conspicuous message of anti-racism and a derisive perception of bygone 1960s segregation laws.

References:

Hidden Figures 2016, Fox 2000 Pictures, Directed by Theodore Melfi

Unknown Author 2019, ‘Week 3 - Narration II: Stylistics of sound and vision’, lecture Notes, Comm2636, RMIT University

Unknown Author 2019, ‘Week 5: Screening Gender', lecture notes, Comm2636, RMIT University

Unknown Author 2019, ‘Week 6: Screening Economic Inequality’, lecture Notes, Comm2636, RMIT University

Unknown Author 2019, ‘Week 8: Screening Migration and Racism’, lecture Notes, Comm2636, RMIT University

National Association for the Advancement of Colored People 2016, NCAAP Statement on appointment of Jess Sessions as Attorney General, viewed October 8th, 2019, http://www.naacp.org/latest/naacp-statement-appointment-jeff-sessions-attorney-general/

Pacific Standard Staff 2017, ‘Hidden Figures’: Lessons for the resistance in the age of Trump, Pacific Standard, https://psmag.com/news/hidden-figures-lessons-for-the-resistance-in-the-age-of-trump

Education and Career News (date unknown) “Empire” Actress Taraji P. Henson Shoots For the Stars, Education and Career News, https://educationandcareernews.com/women-in-stem/empire-actress-taraji-p-henson-shoots-for-the-stars/