Porourangi's New Family

In the book, Directing: Film Techniques and Aesthetic, the author describes the importance for different perspectives, “shifts of POV between characters five empathic insight into multiple characters’ thoughts and feelings, and portray a fuller and more complex understanding of the events of a narrative” (120). The music video switches between two perspectives, the husband and the wife. While the perspective of the wife follows her inner demons, the perspective of the husband follows the everyday struggle of helping her cope with those demons. For example, the wife is seen drowning emotionally and physically, while the husband is dealing with her outbursts at a party and attempting to calm her down. These two contrasting events allow the viewer to see how the wife’s actions effect the husband and the people around them. In “Coping with Mental Illness: a Family’s Struggle for peace, Stiles argues, “the main cause of caregiver burden is uncertainty. For instance, not the patient, doctor, family, or nurse can predict episodes of violence, outbursts, relapses, or other impulsive behaviors, such as suicide attempts” (140). By changing the perspectives throughout the music video, the viewer is able to see this uncertainty and its burden on family members. During a barbeque with friend, the wife has an outburst and yells at guests and her husband. This scene is told through the husband and the wife’s point of view. The husband is clearly shocked and surprised at his wife’s outburst, and is embarrassed about her behavior which leads to sending the guests home. The point of view of the wife shows the battle going on in her brain, which sparks compassion for her. However, the husband’s point of view allows the viewers to have sympathy for him because he is required comfort her, but also manage the consequences of her actions. The contrasting

Dadi refers to the grandmother, "manager" of an extended family living in the Haryana region of Northern India. When dadi days family, she meant the male lineage with all their wives and children living as one economic unit. With everyone’s income managed by the oldest couple. This film explores the extended family and its problems, particularly through the women of Dadi 's family. The film also addresses the different roles women play in her lifetime, daughters, daughter-in-law, mothers, mother-in-law, sisters, sister-in-law, wives. It also reveals the difficult to fulfil each role. Some important aspect that the film touches on is also patriarchy and the influences of education in changing the status of women.

The film's plot follows the story of Paikea Apirana, yet she goes by the name Pai in the film. Pai is a 12-year-old girl who is the only remaining

The relationships between mothers and daughters in both pieces distinctly illustrates that actions result in consequences through the various similarities and differences. Two specific mothers throughout both the novel and the film appear to unconditionally support their daughters in any way feasible. The relationship between Ekwefi and Ezinma emerges as a significant bond that shapes the lives of both Ekwefi and Ezinma as well as other characters in the novel. For instance, when Chielo captures Enzima and takes her to Agbala, Ekwefi becomes concerned and follows them to the caves. Traveling through unbearable conditions, walking and running countless miles and even disobeying her religion to simply confirm her daughter's safety. This shows that Ekwefi and Ezinma have a profound connection and will take perilous actions to ensure safety and happiness for one another. Likewise, Vianne would undertake precarious actions to ensure her daughter's safety and satisfaction. For example, in the situation where the river rats’ boat ignites, Vianne plunges into the river and risks her life to assure she finds Anouk safe. This demonstrates that Vianne and Anouk has a compelling relationship and will take extreme measures to ensure the other’s happiness and safety, similar to that of Ekwefi and Ezinma. The actions taken by Vianne and Ekwefi result in a strong, beneficial relationship with their respective daughters and shape the ensuing lives of each character involved. Clearly, these

It is after she awakens from unconsciousness that she is finally able to confidently state, having earned Koro’s approval, “My name is Paikea Apirana, and I come from a long line of chiefs, stretching all the way back to the Whale Rider … I know our people will keep going forward … with all of our strength.”

And lastly, the change from a smaller concern for just the family to moving into a larger world-view and concern for all of humanity is illustrated in the character of Ma Joad. Ma comes to realize as she feels at first she is losing family members through the

The director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

Nanny Flowers didn’t like this gesture and after Koro had said goodbye made him hold her. “Here, hold your granddaughter,” Nanny told him. This was an important quote for, during this time because of Koro’s rejection too Paikea the conflict between these two characters ignited. Nanny Flowers thought this was wrong and stood by Paikea for she was only an innocent child and Koro was being a blinded man. He was looking for something that didn’t exist, a prophet, a new leader who was going to lead their family to great heights. During this scene, Niki Caro used some clever camera movement and shot compositions to enhance the message she was trying to get across. When we see Koro saying goodbye to Pai’s brother the shot we see is from behind a glass wall, behind Nanny Flowers shoulders. This was effective because the shot was made out to be from Nanny Flowers perspective. Caro also used the wall as a barrier showing that there is separation between the characters. This was clever of Caro because this event was the beginning of the conflict between Nanny Flowers and Koro.

One particular scene uses close up to effectively show the emotions displayed on Mani and Lola’s face. Mani portraying fear and anguish while Lola has a face of stress and her body language gives of the feel of her feeling responsible. This scene takes places as the start of the film and gives the story of the plot and an opening to the story. Close ups are used to get the audience's empathy or connection to the character. It gives a clear view of the emotions that are being depicted by both Lola and Mani.

Finally, Jayanti’s first exposure to the world outside her Aunt’s house and the events that lead after, changes who she really is,

Her emotions caused by their circumstances help institute the concerned tone of the novel. While Ma’s attitude clearly creates a concerned tone, her looking back appears to not be the only demonstration of the theme. Granpa’s late hesitation to the move supports the concerned theme as well.

His story was told by her daughter, Ito who narrated the whole movie. Therefore, it can be said that this movie is based on the fond memories of her father. She was still very young when these incidents happened which changed her father’s life irrevocably.

One of the most important components for the movie is aesthetic. The reason is that aesthetic can create atmosphere and mood. Especially, one of the most famous Hong kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements of Aesthetic such as Mise en scene, sounds and cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audience to the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the two components which are mise en scene, cinematography and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

My concept for the creative writing piece was a letter written by Pi to his deceased family members. The aspects of the text that inspired me to write a letter were Pi’s relationships with them. One particular scene that provoked me to write this piece is when Pi’s family didn’t understand why he adhered to multiple religions. This piece relates to the aspect of Pi’s relationships by illustrating what Pi wished he said to his family. I chose to write about Pi craving his mother’s food because in the book Pi was craving different foods, which must have been cooked from his mother, leading him to think about her. This point show how Pi had the strongest relationship with his mother in the family. The Aspects of Pi’s relationship with Ravi and