Mirrorball
It is almost trite to pounce on the symbolism of "Black Swan." Darren Aronofsky makes it the seeker after meaning in his film almost too easy - symbol pregnant he swings the subtext leg, mirror integrated into nearly any setting (a challenge for the camera work), often provides wooden picture for the coming-of-age of its protagonist and goes so become a cartoon effect, like a neutron bomb comes subtly at the zenith of the movie. Unfähigeren hands in this film would have been a fiasco rightly. In which of Aronofsky creates a poetic, melodramatic little gem that not only tolerates all the hyperbole, but absolutely necessary.

The mirror is about symbol used heavyhanded on the one hand, on the other hand perfectly well again in this density, almost manic, intrusive. Because of course ballet is a fixed mirror world - the exercises before the giant mirrors, the cult of the body, the permanent self-control. The film invites to all sorts of associations one - Through the Looking Glass, the dark Mirror Mirror doppelganger world of Star Trek from the sixties, Tennyson's "Mirror Cracked" poem ("The curse is come upon me") and so on. Whether the mirror in the apartment of the dancer Nina Sayers in ballet whether mirror ball in a disco, whether glass reflections or the effect of the infinite mirror - with the mirrors, the question of identity, after I search, after a groundlessness in essence, of vanity and insecurity. It is significant that her opponent Nina / kill himself with a shard of mirror and "drops" in this rain finally broken glass, on the one hand can indulge their dark side, on the other hand, finds himself. The mirror as a dream symbol, which sends us messages from the subconscious, and as an established metaphor for a waiting behind the mirrors dark, evil version of his own personality - the idea is certainly not new, but rarely implemented as skillfully as here. Black Swan is enriched with dream symbols of various kinds, and from the very first moment on a Kafkaesque tale of paranoia and greed, insecurity and isolation, growth and decline, without the viewer for a second, only the "reality" may cost. From the first setting we are in Nina's fantasies and fears, her opponent Lily already defined at first as a double life-threatening, as uncertainty as disruption of routine. It seems as Nina's body before you know what is about a transformation and drives this answer impatiently. Even before we know that Nina will play the swan queen, the swan already breaks out of her, as if he had just slept.

Source: www.hdschellnack.de