Class presentations FISHTANK
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Jonathan Sinyor: End scene
The music playing connects to the mother's own hard life, this creates sympathy in how the whole family have had a hard life. Seeing the mother dancing to the song illustrates that Joanne has a connection with this idea.
Mia and Joanne smile at each other to represent how Mia has matured and that they can move on from their differences. Within the equilibrium theory this is the reconciliation between the mother and the daughter, Mia gets rid of the act that she puts on of always having to put up a persona of anger.
Mia, having her hair down is conforming to male objectification. Her hair is
Joanne, placed next to Mia, placed next to Tyler
The shot of Tyler with the background of the estate reflects that she is still trapped. This reflects and provides irony to the end of a typical drive away to end a hollywood film, by showing the oppositional nature of the perfect romanticised take on hollywood life. Mia is being driven off into the sunset representing how Mia has no agency and relies on men. The bleak colours in the Mise en scene imply that the future is not bright or that it will hold any promising prospects. Arnold may furthermore be implying that women are still reliant on men to rescue them from situations of peril. The film has an ostensibly happy ending.
Eliot Soraff: Mia discovers the horse and gets into a fight
When Mia comforts the horse, the contrast between when she is approaching the horse and when she comforts the horse represents how she empathises with the horse. The use of an unstable hand held shot introduces the theme of paranoia. The natural diegetic sound adds suspense. Once Mia reaches the horse, the camera movement becomes steadier, inviting the spectator to understand Mia's comfort. She uses the horse as a source of escape from society.
If you take the horse as representing Mia one could say she tries to break the chain to let the horse escape forbodes her desire to escape from the cycle of poverty.
The camera returns to unsteady movements when Mia meets the travellers, Arnold introduces the binary op of man v woman. The hammer that Mia would have used is given its own identity as the camera continually cuts back to it.
Mia's naivety, thinking that the horse would be better off being free from the chains, and not knowing that the horse would be run over could represent her lack of common sense that in her situation, she thinks that any other situation for her would be better than her current situation in her council housing.
Alice Bordell
Mise en scene costume: Topless with low cut jeans, patriarchal dominance.
Narrative: Binary opposite - father vs lover... "I was enjoying it"
We see Mia's eyes scanning Connor's body from the waist upwards, foreboding her obsession with him.
Female gaze but with the male empowered.
Furtive glance
We do not gain sexual gratification from looking at Connor's body
Yuval Proud
POV shot
Closeup of Mia in profile
The song California dreaming marks the start of Mia and Connor's relationship, as it also marks the end of it in the sex scene.
Caitlin Grills
Intense focus on female dancing is used by the director to critisize the male gaze
Mia being told to take her hair down links to what Connor says to her and her being sexualised.
Throughout the film Mia has been disempowered, her walking out is the first time she dictates her own future.
Use of heavy breathing suggests something has just happened, we just missed the action... enigma code -
POV shot
Jonathan Sinyor: End scene
The music playing connects to the mother's own hard life, this creates sympathy in how the whole family have had a hard life. Seeing the mother dancing to the song illustrates that Joanne has a connection with this idea.
Mia and Joanne smile at each other to represent how Mia has matured and that they can move on from their differences. Within the equilibrium theory this is the reconciliation between the mother and the daughter, Mia gets rid of the act that she puts on of always having to put up a persona of anger.
Mia, having her hair down is conforming to male objectification. Her hair is
Joanne, placed next to Mia, placed next to Tyler
The shot of Tyler with the background of the estate reflects that she is still trapped. This reflects and provides irony to the end of a typical drive away to end a hollywood film, by showing the oppositional nature of the perfect romanticised take on hollywood life. Mia is being driven off into the sunset representing how Mia has no agency and relies on men. The bleak colours in the Mise en scene imply that the future is not bright or that it will hold any promising prospects. Arnold may furthermore be implying that women are still reliant on men to rescue them from situations of peril. The film has an ostensibly happy ending.
Eliot Soraff: Mia discovers the horse and gets into a fight
When Mia comforts the horse, the contrast between when she is approaching the horse and when she comforts the horse represents how she empathises with the horse. The use of an unstable hand held shot introduces the theme of paranoia. The natural diegetic sound adds suspense. Once Mia reaches the horse, the camera movement becomes steadier, inviting the spectator to understand Mia's comfort. She uses the horse as a source of escape from society.
If you take the horse as representing Mia one could say she tries to break the chain to let the horse escape forbodes her desire to escape from the cycle of poverty.
The camera returns to unsteady movements when Mia meets the travellers, Arnold introduces the binary op of man v woman. The hammer that Mia would have used is given its own identity as the camera continually cuts back to it.
Mia's naivety, thinking that the horse would be better off being free from the chains, and not knowing that the horse would be run over could represent her lack of common sense that in her situation, she thinks that any other situation for her would be better than her current situation in her council housing.
Alice Bordell
Mise en scene costume: Topless with low cut jeans, patriarchal dominance.
Narrative: Binary opposite - father vs lover... "I was enjoying it"
We see Mia's eyes scanning Connor's body from the waist upwards, foreboding her obsession with him.
Female gaze but with the male empowered.
Furtive glance
We do not gain sexual gratification from looking at Connor's body
Yuval Proud
POV shot
Closeup of Mia in profile
The song California dreaming marks the start of Mia and Connor's relationship, as it also marks the end of it in the sex scene.
Caitlin Grills
Intense focus on female dancing is used by the director to critisize the male gaze
Mia being told to take her hair down links to what Connor says to her and her being sexualised.
Throughout the film Mia has been disempowered, her walking out is the first time she dictates her own future.
Use of heavy breathing suggests something has just happened, we just missed the action... enigma code -
POV shot
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