28 Days Later - Vacant London Analysis

The scene opens with a medium shot of Jim, focusing on the confusion on his face as he enters a desolate location. The camera remains fixed, and the shot gradually widens as he walks away and continues to examine his surroundings. A key element to mention is Cillian Murphy’s performance as Jim; although understated, it effectively conveys emotions of fear and instability. His loose hospital gown symbolises both vulnerability and disorientation, while the plastic bag he clutches appears to be his last link to normality. The way he is holding it reinforces his sense of confusion as he navigates this unfamiliar, devoid reality, subtly communicating his fragility in a harsh environment.

There is only ever one word repeated throughout the scene, “Hello”, the first bit of diegetic sound, and this dialogue is echoed, which introduces a sense of isolation; it also reflects Jim’s search for connection in a seemingly barren place. In the background, the sounds of bags rustling and footsteps are exaggerated, further amplifying the feeling of emptiness, unsettling the audience and making them hyper-aware of the silence. Absence is an important part of this scene; it’s almost an element in itself. Boyle uses this to subvert both stereotypical horror conventions and audience expectations, as silence in horror is usually a precursor to a jump scare, but here it is deliberately prolonged to sustain unease and create tension without visual horror.

The camera then switches to an establishing shot, introducing the setting of London, which now appears dull and devoid, instead of the usual bustling crowds. The colours used in this shot serve as a juxtaposition, the unnatural green used for the bridge complements the colours of the main character and helps set an unsettling, cold tone, whereas the warm, full, golden colour of the Houses of Parliament represents the ancient, familiar architecture, while it’s mainly used to visually represent societal breakdown, it can also be used to enhance versmilitude. The colour palette throughout this whole scene is muted greens and greys and washed out blues, which could be compared to the colour of scrubs, connoting contamination and decay and reflecting the state of the city. This colour palette is other films within this genre, such as The Road, John Hillcoat’s 2009 post-apocalyptic horror.

All of the shots use natural lighting, which makes the setting feel sterile, blank and intrusive, while also making the character feel exposed, and gives the scene a raw feel rather than cinematic and stylised. This enhances realism and strips the city of it’s usual lively vibrancy, but once again subverts horror conventions. Boyle doesn’t utilise the shadows to create fear, which is commonly seen in horror; he instead creates psychological horror using things that we can’t see.

Furthermore, when the shots are focused on the character, the camera is shaky, indicating that it may be a handheld shot; not only does this heighten the feeling of realism by making the scenes feel like found footage, but it also represents the lack of control the character has in this situation, much like the lack of control the cameraman has with a handheld shot. Moreover, Jim is often positioned in the centre of the frame, reinforcing that he is the main character, yet he seems powerless when shown in extreme wide shots.

It then cuts to a wide shot, looking through the broken glass of a bus, once a symbol of structure and community, now mirrors societal collapse. It suggests that something that was once familiar has become dangerous and unstable. Another establishing shot is used, this time overlooking Trafalgar Square, which is usually a bright and vibrant location, filled with life. Throughout the shots, the music remains calm and doesn’t change; it’s sparse and atmospheric, using lingering minimalistic tones that echo the silence of the empty streets. It’s slow and almost mournful, and it’s tone reinforces a sense of loss, while the gradual layering of sound introduces subtle tension, unsettling the audience. Much like the colours used, the music is a harsh contrast to the unnerving visuals.

Another wide shot is used, and Jim once again calls out a desperate “Hello”, reinforcing the overlaying themes of vacuity but ultimately reflecting growing desperation and futility. The camera shots then switch to extreme wide shots and Dutch angles to show how distorted this reality is, but to also mirror Jim’s disorientation; the use of Dutch angles literally makes the world feel off-balance. It can also be noted that Jim is in every shot, even the establishing shots, subtly reinforcing the theme of isolation, alienation and disconnection.

A rapid pan is used to show the change in mood and pace. The editing is deliberately slow at first, to mirror Jim’s disorientation and the eeriness of the desolate city. The non-diegetic music, which was previously calm and almost melodic, now picks up. It angles onto Jim, who is frantically picking up money off the floor. This suggests that he is aware that something is wrong, but he doesn’t quite understand the severity of the situation. It also subtly strengthens the fact that he is disconnected; this cleverly uses a mix of mise-en-scène and symbolism. The scattered money on the ground represents the collapse of order and stability, much like the overturned bus, and both act as symbolic signs that connote deeper meanings. This directly relates to Roland Barthes’ theory of semiotics, where denotations such as a bus or money take on connotations, in this case, the breakdown of societal order.

Space is employed deliberately throughout the shots to suggest turmoil without explicitly depicting it. The use of extreme wide shots renders Jim small and insignificant in comparison to the expansive, vacant streets. The domineering architecture, which predominates many shots, contrasts with the lack of human presence, thereby accentuating a sense of catastrophe. There are no scenes of riots, infected individuals, or panicked crowds; instead, Boyle utilises elliptical imagery such as the overturned bus, shattered glass, litter, and abandoned vehicles to convey that narrative, leaving the audience to imagine the chaos alongside Jim.