Royce Taft

Intro to Film
Film Analysis Paper
Spring, 2014

Intro
This analysis is of Kevin Smiths Dogma (1999). It was produced by View Askew
Productions and STK, and it was distributed in the US for theaters by Lions Gate Films. Key
actors in Dogma were Linda Fiorentino as Bethany, Matt Damon as Loki, Ben Affleck as
Bartleby, George Carlin as Cardinal Glick, Jason Lee as Azrael, Alan Rickman as Metatron,
Chris Rock as Rufus, Jason Mewes as Jay, Kevin Smith (director and writer) as Silent Bob, and
Alanis Morissette as God.
Genre
Dogma is an American comedy of present Hollywood. Its not one particular subgenre of
comedy, as it seems to touch different types. It is partly a screwball comedy due to the strong
female role of the main character, Bethany, and the difficulties of her journey being relieved by
the zany antics of the male stoner duo, Jay and Silent Bob. Jay, misled by Bethanys intentions,
sparked the ongoing and obvious, love that will never be concept between Bethany and
himself. This strengthens the screwball aspect of this American Comedy.
There is, however, a hint of slapstick comedy. These parts of the film relied on not just
physical comic action, but also used dialogue to set up the events. In particular, firing an
automatic weapon at the bartender in the holy bartender gag, although twisted, was the
punchline to Azraels asking if anyone knew how to make him a drink called the holy bartender.
Another example of slapstick comedy occurred in the first scene where the priest, whom one
would normally expect to be sophisticated, is shown to be very informal with his dialogue and
body gestures as he announces Buddy Jesus, whose contrasting pose to the norm is reminiscent
of a slapstick-style of comedy. This American comedy also has a dash of fantasy due to the

Royce Taft
Intro to Film
Film Analysis Paper
Spring, 2014

improbable incarnation of angels, demons, and God himer herself. Even the opening intertitles of the film present this as a comedy. The disclaimer jokes about being a disclaimer.
Smith used techniques from many different film styles including: American comedies and
editing, Russian and French cinema. These are further discussed where editing, mise-en-scene,
and cinematography are accounted for. Smith used a class structure for humans and angels to
drive the story, much like German Expressionism.
Narrative elements
Dogma has a classical narrative plot with events occurring chronological order, following
somewhat of a deadline structure. The beginning of the film sets up the basis for the plot twist
nearing the end of the film, when the homeless man that was beaten and is later discovered to be
God incarnate. The protagonist, Bethany, was confronted by Metatron: the voice of God. He
acts as a narrative device to reveal to the protagonist and the audience the responsibilities of the
protagonist, as well as introduce consequences of failure that help drive the plot. The stoner duo,
Jay and Silent Bob and are introduced and used as comic relief throughout the film. Smith adds
internal conflicts to the protagonist during her journey. As a plot device to add suspense and
drama, one of the antagonists has a change of heart and doesnt want to continue with his
scheme. This American comedy follows the classic plot of a character with personal struggles
being led on an adventure with obstacles to overcome and a happy ending to wrap it all up.
The characters in the film all play particular roles that help drive the story and satire. Of
course, Bethany being the troubled protagonist carries the story as she progresses on her
adventure. She develops as the film progresses by overcoming her lack of faith in God,
becoming accepting of Jay and Silent Bob, and also accepting her place in the royal family.

Royce Taft
Intro to Film
Film Analysis Paper
Spring, 2014

Supporting characters such as Metatron, Rufus, and Serendipity help drive the story forward by
providing crucial information otherwise missing from the plot. Metatron sent Bethany on her
quest and provided background information of Loki and Bartleby. Rufus and Serendipity
provided not only physically assisting Bethany, but filling in other information from their
knowledge of Heaven, angels, and renegade angels involved in the plot. Jay and Silent Bob
provide the comic relief and satire that makes this comedy worth watching. They play off each
with a stoner duo feel similar to Cheech and Chong, with the added playful humor of Jay
incessantly insulting Silent Bob. Loki and Bartleby are the primary antagonists. However, there
are minor antagonists that not only helped the primary ones throughout the plot, but put them on
track in the beginning: Azrael and the three triplets. While their roles may seem minor, Azraels
commands are what initiated the plot. He wishes for the same outcome as Loki and Bartleby, but
has different motives. His knowledge of the consequences of Loki and Bartleby is the same as
the protagonists. This places him as sort of a middle man, and is removed from the film before
the climax takes place.
Editing
A key aspect of editing used in Dogma is continuity editing. Parallel editing was used to
show Bartleby and Loki approaching the church as Bethany and her party progressed to build
suspense. Establishing shots were used such as at the church, then cut to sign with title of
sermon, then cut to close up of preacher. Transitions between scenes were used to bring the
camera to a new scene. Smith used different types of wipes to transition between scenes. The
180 degree rule was upheld throughout most of the film. Smith used a lot of close ups by means
of the classic shot-reverse-shot for almost all instances of dialogue taking place between two

Royce Taft
Intro to Film
Film Analysis Paper
Spring, 2014

characters, along with eye line matches for objects or people that characters can see off screen.
An example of an excellent cut in this film was when the cardinal was speaking to the public in
front of the church and then it cut to a news reporter at a desk saying, there you have it
(speaking about the cardinals speech), then panning out to see that the reporter was on TV. The
camera continues to pan out to see the TVs location in an airport and then down to the first
sighting of Loki.
Dogmas editing was partially influenced by early Russian cinema. The Kuleshov Effect
was noticeable in the opening scene where the homeless man was beaten by triplets. Smith
never showed any of them making contact with him; he showed the kids brining up their hockey
sticks, then cut to the homeless mans scared face, then back to the kids swinging their sticks.
There were plenty of jump cuts to show actions from different angles as they took place. A
possible throw back to Eisensteins Battleship Potemkin was noticed as Loki and Bartleby open
fired into the crowd on the steps of the church, creating pandemonium with bodies dropping like
flies, similar to the famous Odessa Steps scene.
Mise-en-scene
The lighting of the film stayed fairly neutral. A lot of natural light was used, and when
indoors, set lighting was mainly used. This is especially true in the train. However, some
additional lighting was used to cast shadows on the faces of the triplets. This is prevalent in the
opening scene. Their shadows are in the opposite direction of the homeless mans. This is so the
homeless mans face can be lit up and happy, while the triplets faces seem evil. There was a
reasonable amount of digital special effects. One that really pops was the tear in space time the
triplets made with their hockey sticks. Smith used a bit of Surrealism from French cinema to

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Intro to Film
Film Analysis Paper
Spring, 2014

convey to Bethany that Metatron truly was sent from God when he turned a bat into a fish before
her. Although Bethany actually was dreaming (or was she?), the use of the surrealistic events
and mise en scene help strengthen the idea that she was dreaming. The mise is what really
accented the slapstick part of this comedy. When the protagonist and supporting characters
watched the shit demon fight, their heads moved in unison to different angles to follow the
fight. That adds just the right amount of humor to what becomes a suspenseful situation. An
important part of the mise is when Bethany goes to find God in a homeless mans body in the
hospital. This is symbolic to the plot because as she goes in search of God, its as if the entire
film has been her searching for God in a religious sense. When she finds God, she also finds
God in a religious manner. Another symbolic aspect of mise en scene was used with the golden
calf statue of Moobys mascot in the conference room. It was an obvious symbol of the golden
calf mentioned in the bible as a false idol.
Cinematography
One of the best aspects of this film was the fantastic use of cinematography. On the
opening scene, after a shot of the happy homeless man, Smith uses a POV shot with a shaky
camera moving toward the man, representing the triplets movements to create an unsettling
feeling. An excellent cinematographic technique used is on entrance of a new character, when
the characters currently on the screen turn their heads, the camera spins 180 degrees to capture
the newly entered character head on. This is used many times in this film, especially when the
two characters involved have opposing views. In the parking garage, the camera movements
following Bartlebys pacing around Loki is phenomenal. Theres even a spot where Bartleby
walks past Loki during a close up and quits speaking. The camera quits tracking Bartleby and

Royce Taft
Intro to Film
Film Analysis Paper
Spring, 2014

stays on Loki as he replies (Similar to the camera following the boy on the beach and stopping
on the man in Spielbergs Jaws). The use of the steady cam makes the film flow naturally where
needed. This is especially prominent when the camera is tracking the renegade angles in the
airport.
Sound
Smith made good use of sound in Dogma. He also combined it with the mise en scene
and cinematographic techniques for an eccentric experience. Every chance he could get, he used
non-diegetic music to build suspense. A great example is when the triplets attacked the homeless
man. In combination with the shadowy lighting on the triplets and shaky POV shot, the music
really helped add to the suspense. Other non-diegetic sounds were used to clue the audience in
on what was about to come. For example, when Azrael is first seen, there is a growling hiss
sound. The characters dont hear it, but its there to show that something isnt right with him.
Another non-diegetic sound he combines with other film techniques is the camera swoosh
when the camera makes long angular movements (like 180 degrees). This emphasizes the
turning of the camera. Its supposed to break the feel of the scene like an interruption. Smith
experiments with character dialogue and off scene events when Serendipity says that piece of
shit! and then cuts to the bathroom and the toilet begins to gurgle. She then says it stinks!,
and something begins to take form in the toilet. Finally she says, wake up!, and the shit
monsters eyes open up and attacks. Playing with the sound like this adds to the slapstick
characteristics of the film. Also rather than Serendipity just repeating what Azraels last words
were with her own voice, Smith used a voice over so that Azraels voice saying, but Im a
fucking demon! came out of her mouth. Once again, this adds to comic effect of the film.

Royce Taft
Intro to Film
Film Analysis Paper
Spring, 2014

Many non-diegetic sounds were used when holy event occurred such as an angel appearing or
Bethanys resurrection.
Other Thoughts
I enjoy Jay and Silent Bob films. Ill admit that the only reason Ive seen Dogma is
because they were featured in it. This is the perfect example of todays Hollywood star system.
Smith casted at least a few actors that were known enough to gain some attention, which is a
crucial part of mise en scene. Jay and Silent Bob are characters that already existed. Those two
being in this film was part of the mise. Audiences know what to expect when they go to see a
movie with Jay and Silent Bob; they expect an outrageous comedy with the classic snoochie
boochies!