#9 Creative project and Explanation

#8 Compare and Contrast Summer Reading Paper

Mis En Scene Passage: On page 290-291 lines 5-42 and found in minutes 105:20-111.20 of the movie Prose, Mise en Scene and Compare and Contrast Analysis of “The Namesake” by Jhumpa Lahiri Will Hoffman Ms. Nichole Wilson AP Literature and Composition 02 October 2013 Prompt: 1997. Novels and plays often include scenes of weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole. I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course. X_William C Hoffman__   In the movie “The Namesake” director Mira Nair crafts the cinematography by using camera angles, lighting, body language and noise (diegetic sounds) to bring the book to life; subtly exemplifying the juxtaposition of Gogol and Ashima to share the same depth and complexity of the book. Mira Nair capitalizes on all aspects of cinematography; by using point of view shots, medium shots, and low angle shots Nair purposefully drafts the audience’s opinion reflective of the camera angles. A point of view scene is done of the Nikoli Gogol’s “The overcoat” so we can read the text “From the man that gave you his name, to the man that gave you your name,” (Nair2006). By filming from the perspective of Gogol the audience gains a closer relationship with what the words actually mean to Gogol, ultimately adding depth to the movie. The use of medium shots during the same scene in the film contribute to setting the scene without losing the emotional sense that pervades the scene; thus as Gogol leaves the room we see the lights are now on and the somber expression on Gogol’s face has been lifted he realizes him . Finally, the scene concludes with a low angle, point of view shot of Ashima. She gives a speech. By portraying Ashima in this shot as an audience we observe how Ashima in a strong position of independence; parallel to her advancement as a character. Nair produces a subliminal sense of juxtaposition in Gogol and Ashima by using camera angles to purposefully influence the viewer opinion on the characters; all without using a line of dialogue. Referencing dialogue, Mira uses both diegetic and non-diegetic noise to influence the thought process of the characters; both Gogol’s return to his family and Ashima’s return home. The scene begins with Gogol entering a quiet, settled room (Nair2006). The scene is neutral without the noise, nothing stands out, and the bleakness is profound. By making the scene quiet Nair can input any noises without distraction. The first noise is diegetic, Ashima enters in a position of power showering Gogol with questions. Nair uses this to show Ashima’s newfound sense of power; she took the whole length of the book to show any strength or dominance in a conversation. Fast forward, looking at the end of the scene we listen to Ashima speak again, she is giving her friends a look into her life (Nair informs the viewer as if you were a guest at the party). Now, rewind to Gogol’s response, “I know this is going to sound crazy, but for the first time in my life I feel free.” (Nair2006). The complexity of both Ashima and Gogol lies in the irony of Ashokes death; spurring Gogol to return home and Ashima to return home; in doing so both characters are reborn. Rebirth is absolutely necessary to the plot of the book, thus Mira Nair emulates rebirth in the use of lighting; the change from dark to light in the scene exemplifies the confusion to clarity both of the characters face. The scene begins in the fleeting light of the globe on Gogol’s old desk (Nair2006). By using the darkness to connotation confusion Nair forces Gogol to seek light. By finding “The Overcoat” and voicing the feelings he now realizes his own rebirth. At this moment Nair inserts ambiguity with the color grey in a flash back, he knows the future is coming but doesn’t know where it will take him. Congruently Ashima is placed in the same dark atmosphere when she enters the room. It is not until she leaves the room however that light finds her. During her speech the room is brightly lit; she voices her realization, she must return home, “For 25 years I missed my life in India, but now I will miss my life here,” (Nair2006). Both respective characters start the scene in darkness and through realization end in light; the recognition of Gogol finding his rebirth at his home in America, and Ashima finding hers in India represents the juxtaposition present in the piece. Mira Nair uses camera angles to convey her purpose to the audience, lighting to identify a shift in mentality, body language to elude to strength and diegetic noise to influence the audience’s interpretation of both Gogol’s realization of self, and Ashima’s reasoning to return home; together all the aspects of cinematography meld to create juxtaposition (Between Ashima and Gogol) and irony (the catalyst of Ashok’s death).

#7 Fairy Tale PP Rapunzel

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#6 Myth PP

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#5 Literary Period PP NEOCLASSICAL

#4A Group Identity Powerpoint