Draft 2 PhD Introduction - ResearchSpace@Auckland

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features of Ward’s work in the strength of its images, attention to detail, strongly
subjective feel (for example in its many point-of-view shots), Expressionistic mise-en-
scène, and in the influence of an art-house aesthetic evidenced by the slow pace of some
scenes, highly-stylised cinematography and use of symbolism.
An analysis of Ward’s idiosyncratic approach to writing the script of Vigil helps us to
understand the underlying reasons for the particular strengths and weakness of his
narratives. One of the strongest features of Vigil (and indeed of all his films) – its
memorable imagery – was based on his method of writing a script beginning purely
with images, around which he gradually constructed a story. Another characteristic
feature of the narrative was its mythic nature, which can be attributed to a conscious
attempt by Ward and Tetley, his collaborator on the script, to incorporate archetypal
elements into the script. Ward’s interest in symbolism, images and the psychology of
the characters led to a complex narrative, working by juxtaposition rather than a
continuous sequence of cause and effect, that critics often felt uneasy about. This type
of narrative relied more heavily on implication and sub-text than conventional
narratives, encouraging the viewer to actively construct meanings as much from miseen-scène
and contrast as from the film’s minimal dialogue.
Initially the story of Vigil focussed equally on the four main characters, but through
successive drafts of the script, the story came to focus on Toss, played by Fiona Kay.
Although Ward was working with a child actor for the first time, the experience showed
that one of the strengths of his direction was his ability to work with children. The
difficult locations and Ward’s perfectionist approach demanded an unusual commitment
from the cast and crew, but most were prepared to acknowledge that Ward’s
obsessiveness, commitment and flair for lateral thinking produced outstanding results.
These qualities clearly provide the basis in practice for Ward’s auteurist reputation.
While classic auteur theory concentrates on the textual qualities of completed films, an
expanded sense of auteurism will also consider the director’s filmmaking practice. My
own approach has sought to explore the links between theory, practice, and textual
results at a deeper level than any personality cult. In the case of Vigil, my record of the
filmmaking process has shown that three complicating factors need to be
acknowledged: the quality of Ward’s collaborators (artists with their own distinctive
artistic personalities such as Tetley, Maynard, Bollinger and Morris); the practical