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Reflection,No matter what the topic

Essay Instructions:
In about 500 words, do a mise-en-scène analysis of one of the films you watched in Unit 1. How do the following elements: movement, lighting, position, color, shape, and size add to the depth of the stories? As an example, you could reflect on how the position of the characters and the camera in Embrace of the Serpent (Guerra, 2015) either perpetuates or rejects the Western, colonial gaze. In The Missing Picture(Panh, 2013), you could reflect on how the framing of the clay-animated characters helps recount this traumatic, often forgotten history, in an accessible, empowering way for the filmmaker. Unit1;Films: Chacun son cinema/To Each his Own Cinema selections (2007), World Cinema (Coen Brothers), En regardant le film/Movie Night (Zhang Yimou); The Story of Film: An Odyssey, E13 - New Boundaries: World Cinema in Africa, Asia & Latin America (Mark Cousins); A Movie Lover’s Guide to Film Language Note: you need to include specific examples to help support your reflections, but you DO NOT need to include examples from ALL films/texts assigned.
Essay Sample Content Preview:
Reflection: Mise-en-Scène Analysis of "Embrace of the Serpent" (2015) Student’s Name Institution of Affiliation Course Instructor Date Analysis of "Embrace of the Serpent" (2015) “Embrace of the Serpent” by Ciro Guerra (2015) is an ethereal drama shot in the heart of the Amazon and has to do with colonialism, Indigenous people's traditions, and visions. As correctly noticed by moving from the Mise-en-scène as gestural, bright, stationary, positioning, coloration, character, and size gives the film a thematic and narrative density. Movement and Camera Position The camera position gives the film a surreal feeling, especially when it shows the fluidity of cinema through the way characters and the camera move in such a twisted fashion, in assimilation with the river and the jungle. This constant motion also contributed to the feeling of the voyage, the literal and the metaphorical. For example, when we follow the Indigenous shaman Karamakate through the forest, the camera angle is often low, making the viewer aware of the expansive yet intricate nature of the Amazon. It is also a critical perspective on the colonial representation of the indigenous people, and the forest is not represented simply as a background but as an active and living entity with a spirit. On the other hand, while making scenes depicting Western explorers, the camera shots are set with less movement and are zoomed away. This positioning reveals them as not being of the land and lacking empathy with the territory and, more importantly, the people. The critical difference in the freedom of movement in the tracking shots that follow Karamakate and the m...
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