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Abstract

The camera pans from the shattered pieces of a mirror to blood pouring from under the bathroom door. The sight of blood comes as no surprise to the audience, who has just witnessed Nina murder Lily in that very dressing room. It is later revealed that there is no blood and that the murder never occurred. Yet, the audience believes these scenes from Black Swan (Aronofsky, 2010) to be real because director Darren Aronofsky effectively evokes the story's illusions out of reality itself. An analytical study of Andre Bazin's realist theory demonstrates how Aronofsky is able to consciously manipulate mise-en-scene, camera movement and editing, to create a realism of space that reveals essential aspects of the human condition.

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