Jason Reitman's Use Of Foreshadowing In The Film 'Juno'

In Jason Reitman’s independent film “Juno” a lot of foreshadowing started from the introduction of the movie. An example of this is the empty chair, which serves as a motif and ultimately defines the direction of the story. Juno stares at the chair in the beginning of the movie reminiscing on having sex with Bleeker and feeling saddened by having to put it up for sale. That prop served as a implicit meaning, it lies below the movies overall meaning but hints to how the pregnancy is handled by how Juno decides to give the baby up for adoption and maneuver as if the whole situation never happened. Camera angles played a big part in the movies overall expression. In the abortion clinic waiting room the camera dollied in offering angles from Juno’s perspective from the baby in a mother’s hands staring at her to the fingers tapping and Juno remembering Su Chin telling her that babies have fingernails also. This film used many patterns a very notable one is the interaction between Juno and Mark Vanessa’s husband and future father of their child. During the hangout sessions between Mark and Juno the audience grew to see Mark’s discomfort with the whole arrangement of having an adopted child and eventually opted to move away. Mark’s divorce from Vanessa could be seen as him finding enlightenment to still pursue his music career and move to the city, which may have been inspired, by hangout with Juno. The filmmaker manipulates space

Bleeker after all of the indecisiveness still prevails by staying by Juno’s side throughout the whole situation and didn’t shun her away. The form was a huge assist to the overall content of the movie from camera angles, scenes, cinematic language etc. Allowed for the movie to be very suspenseful with emotions leading to see a happy ending for Vanessa and ultimately Juno and