Hanna: Escaping scene

The diegetic white and mechanic noise in the background makes you feel being in a container. Hanna wears an orange overall, which reminded me to the American prison uniform and so makes clear that she is a prisoner of them and can’t just go away, when she wants to go. This impression gets reinforced by the massive looking walls and the very bright lightning. The open hair makes her look wild and a little bit cats like. The absence of the white noise when you are behind the glass wall, in the room with the female agent makes the mentioned agent special and more powerful. You know that’s the boss. But it’s also makes her empty and cold and you are automatically on the girl’s side.

This non-diegetic, increasing sound, which starts when Hanna hugs the agent and gets to his loudest state when the wheel of the door stops to twist, makes you know that some-thing will happen. You know that she is going to escape.

 Everybody hates needles, because they signify pain and make you feel uncomfortable. And so the needle in the hand of the soldier makes us being on Hanna side much more.

The non-diegetic, threatening, technically, muddled up and hit by hit like music sounding during Hanna is killing all this people pictures Hanna like a machine. She is killing hit by hit and with a cold and mechanical precision. This alienated her a little bit from the audience, which is shocked about her. This to and fro running sound also projects a picture of a crashing computer, which tries to restart, in my head. It shows how surprised and overrun they are by Hanna’s actions.

The non-diegetic, video-game like sound is still hectic, but it’s not that chaotic anymore. The “system”, which hunts Hanna, now restarts. It reminded me to the video-game Pac-Man and so reinforces the image of labyrinth of tunnels Hanna has to cross. The white and changing lighting as well as the camera twisting in one sequence reinforces this impression. The voices of the soldiers looking for Hanna help creating the atmosphere of an escape. The music only plays when Hanna is in the scene, which makes her the heroic. Hanna’s breathing noise (diegetic) makes her more human, vulnerable and sympathy.

Just before Hanna reaches the hatch to get outside the music increases for a last time, which tells the audience that she nearly has done it.The loud, diegetic sound of the opening hatch and the very bright light reinforces the feeling of passing a gate to a new place/world and leaving this one. When Hanna is outside, the non-diegetic music stops. She escaped from the FBI-Camp and the labyrinth. But because there is no new music theme, this absolutely silent creates a feeling of being in the middle of nowhere. The setting, a desert, confirms that feeling and you feel lost.