As Egger’s Nosferatu starts to creep around the corner I thought it would be a good opportunity to look at shadows in filmmaking. Shadows have been a critical element in cinematic storytelling since the inception of the medium, serving not only as a tool for creating visual interest but also as a powerful psychological device.

The shadow Side

In psychological terms, shadows often symbolize the unconscious mind. This concept, rooted in Jungian psychology, posits that shadows represent the repressed or hidden aspects of a person’s psyche. This, like a lot of Jungian ideas, is often misunderstood and oversimplified. For example, the shadow side of our personality doesn’t mean traits that are necessarily dark or evil, it just represents the parts of our psychological make-up that we haven’t been able to integrate into our conscious personality. If you want a good idea of what your shadow is, take a look at the traits in others that annoy you the most. Those negatives we see in others may have positive aspects that we could benefit from if we integrated them into our personalities rather than fought against them. Why is this useful for directors? Because thinking in these terms can help bring three dimensionality to characters when directing actors. Part of a character’s journey is facing up to those elements of Self which are difficult to face and the cost that not recognising them has had one’s life. Then finally - if it’s a heroic story arc - integrating them.

Shadows as a Symbol of the Unconscious

Let’s move from the psychological to the visual. When it comes to cinematic language, it’s useful to think of how shadows can be used symbolically. For instance in The Lighthouse (Eggers, 2019) the film’s stark black-and-white cinematography accentuates the contrast between light and dark, creating a visual representation of the characters’ inner turmoil. As the story progresses, the interplay of shadows becomes increasingly prominent, symbolizing the characters' internal conflicts and unspoken fears. The shadows in The Lighthouse not only contribute to the film's eerie atmosphere but also serve as a metaphor for the protagonists’ psychological unraveling. That’s the important part. It isn’t just spooky. It’s telling a deeper story about the interior world of the characters. The film goes even beyond this, building its language of light and dark in mythic terms. Howard’s egoic desire for the light at the top of the lighthouse is his ultimate undoing. He may, like all of us, be lost in shadows but he can’t cheat the path. Attempting to do so brings nothing but tragedy.

Shadows and Moral Ambiguity

Shadows can also be employed to signify moral ambiguity and the duality of human nature. In films that explore ethical complexities, the use of shadow can reflect the blurred lines between right and wrong, good and evil.

A prime example of this is found in the 2018 film First Reformed directed by Paul Schrader. The film follows Reverend Ernst Toller, a minister grappling with his faith and existential despair in the face of human-driven environmental damage. Schrader uses shadows to underscore Toller's moral and spiritual conflict. The dimly lit interiors of Toller’s sparsely furnished home create a claustrophobic environment where shadows dominate the visual field. This oppressive use of shadow reflects Toller’s internal struggle and his journey through doubt and guilt. The visual motif of shadow in First Reformed serves to highlight the character’s crisis of faith and the pervasive sense of moral ambiguity that pervades the narrative. The use of light and dark play out not just in lighting but also in set design and costume. Schrader uses the stark monochromatic iconography of the church to reinforce his theme of light and darkness.

The Shadow as an Extension of Character

Returning to the Jungian concept of the Shadow we can look at Ari Aster’s Midsommar (2019) where shadows play a crucial role in portraying the protagonist Dani’s psychological state. Throughout the film, Dani’s emotional trauma and suppressed grief are mirrored by the use of shadow. Despite the film's predominant daylight setting, shadows are strategically used in interior scenes to emphasize her isolation and internal pain. In one poignant scene, Dani confronts herself in a mirror and the source of her trauma - her sister’s murder/suicide - literally rises up from the shadows of her unconcious. This subtle use of shadow as a psychological marker provides viewers with an understanding of the wounds Dani needs to confront in order to heal.

Shadows and the Sense of Foreboding

Shadows can be used on a more viceral level to create tension and threat. In his book, Why Horror Seduces (2017), Clasen argues that our fear of the dark is rooted in evolutionary survival mechanisms that date back to prehistoric times when darkness concealed predators and other dangers. This taps into primal fears we have of the dark. A strong example of the use of shadows to create a sense of foreboding and tension in an independent film is It Follows (Mitchell, 2014), directed by David Robert Mitchell. This horror film, known for its minimalist yet deeply unsettling atmosphere, uses shadows as a key element in building a pervasive sense of dread.

Mitchell uses wide shots extensively, using shadows to create areas of tension within the frame. The cinematography is remininiscent of the work of photographer Gregory Crewdson who’s astonishing narrative photographs make use of a rich frame and a mix of light and shadow to communicate what is said and what is hidden. His work is a great resource that can help director’s understand the storytelling possibilities of composition and cinematography.

For more of a technical understanding of shadow in cinematography you can examine the use of negative fill in lighting. Remember, though, it’s about the dramatic intent - not just how it looks. One lighting technique that makes good use of shadows is known as short side lighting. This is where the camera is placed on the opposite side of the keylight in relation to the subject so that the lit side of the face is away from the camera - and the shadow side nearer to us. This creates a sense of mystery and intrigue about the character. From a dramatic point of view it’s the kind of shot that can be used to signify that your character is hiding something at a particular moment.

In Summary

The psychological use of shadow in filmmaking is a multifaceted technique that offers directors a powerful tool to convey deeper meanings and emotional nuances. By drawing from principles of psychology and aesthetics, contemporary filmmakers in the arthouse and independent cinema realms continue to explore and expand the potential of shadows. Whether symbolizing the unconscious, emphasizing moral ambiguity, or creating a sense of foreboding, shadows remain an essential element in the visual and psychological landscape of modern cinema.

For filmmakers looking to deepen their understanding of techniques like this and master the art of visual storytelling, our course, The Art of Directing, provides comprehensive insights into the psychological tools directors can use to elevate their films. From the use of light and shadow to constructing scenes that resonate emotionally, this course is designed to take your filmmaking skills to the next level. Learn more and sign up today!

Using Darkness: SHADOWS AND STORYTELLING