Samuel Levinson Film Analysis: Mise-en-scene Analysis 1: A Single Man: Charlie (31:07) 1. he !

ominan" in "his sho" is Charlie hersel#$ as she is "he only charac"er onscreen. %n "his scene$ she is having a "ele&hone conversa"ion 'i"h (eorge. he s"ory is moving #or'ar!$ an! Charlie is emo"ionally su&&or"ive o# her !e&resse! #rien!. Al"hough she is no" !irec"ly in "he cen"er o# "he #rame$ she is close enough "o )e consi!ere! "he mos" im&or"an" su)*ec". Charlie is in "he cen"ral &osi"ion #or "his sho". A#"er "he #ocus on Charlie$ % am #ocuse! on "he &hysical se""ing an! !+cor. his is "he 'orl! "ha" Charlie has crea"e! #or hersel#$ re#lec"ing her &ersonal s"yle. he o)*ec"s &resen" are au"hen"ic "o "he class an! sel#-image "ha" "he charac"er has. ,. %n "his scene$ "he ligh"ing seems na"ural #or "he si"ua"ion- "his is high .ey ligh"ing. he room is 'ell li"$ ho'ever i" is no" overly )righ". he ligh"ing is a&&ro&ria"e #or "he scene$ loca"ion$ an! "he "ime o# !ay in 'hich "his &ar" o# "he #ilm "a.es &lace. %" allo's "he vie'er "o have a clear image o# Charlie an! her surroun!ings. 3. his sho" seems "o )e a me!ium sho"$ as i" allo's "he au!ience "o have a s"an!ar! vie' o# "he charac"er. %# Charlie 'ere s"an!ing in "his scene$ % )elieve % 'oul! )e a)le "o see her #rom "he .nees u&. he camera a&&ears "o )e a)ou" "en #ee" a'ay #rom Charlie$ giving us a &ersonal vie' o# her. Charlie/s &osi"ioning 'oul! ma.e "he au!ience #eel isola"e!$ as her )ac. is "o us$ ho'ever$ "he "'o mirrors in her room &resen" a 0uar"er "urn o# her$ an! a close u&. he mirrors serve a &ur&ose #or "he charac"er$ an! #or "he vie'er$ i" allo's us "o have "'o #rames 'i"hin a #rame.

1. he angle #or "his sho" is "ha" o# an eye level vie'$ &rovi!ing a neu"ral sho" o# Charlie. he au!ience is on an e0ual level 'i"h her$ she !oes no" a&&ear "o )e lac.ing or having &o'er (as 'oul! )e signi#ie! in a sho" con"aining a high or lo' angle)$ so "he vie'er mus" !e"ermine her level o# im&or"ance. his is a non*u!gmen"al loo. a" her$ in her every!ay li#e. As #or "he charac"er hersel#$ she is a cen"ral charac"er in (eorge/s li#e$ a &ar" o# his su&&or"ive$ ye" small circle o# #rien!s. Charlie is someone (eorge has .no'n #or years$ a &osi"ive #orce in his li#e$ an! she is hel&ing him "o )e o&"imis"ic in his curren" si"ua"ion. She !oesn/" 'an" (eorge "o #eel li.e he is alone$ "ha" even "hough his &ar"ner has !ie!$ he s"ill has her #rien!shi& "o rely on. 2. %n "his sho"$ "he !ominan" color seems "o )e "he orange3re! o# Charlie/s hair$ "a)le clo"h$ an! "he &a""ern on "he cur"ains. 4sually re! is a sym)ol o# !anger$ )u" in "his scene % #eel "ha" i" is sym)olic "o romance. he reason % "hin. "his is )ecause Charlie is a&&lying her ma.eu&$ "o ma.e hersel# even more a""rac"ive. his a re&resen"a"ion o# her sel#-image. 5. he lens use! "o #ilm "his scene a&&ears "o )e s"an!ar!. here is no" any s&a"ial !is"or"ion$ i" is a re&resen"a"ion o# 'ha" one 'oul! see i# "hey 'ere on loca"ion. % "hin. "his is a&&ro&ria"e #or "his &ar" o# "he #ilm$ as i" 'oul! )e consi!ere! classicis". % !on/" "hin. "here is a #il"er &resen" #or "he #ilming o# "his scene. he image is clear$ )u" i" !oesn/" seem "o )e as vi)ran" as o"her movies "ha" % have vie'e! "his semes"er$ "here#ore % )elieve "ha" "his may )e an e6am&le o# #as" #ilm s"oc.. 7. A#"er #ocusing on "he !ominan" ("he charac"er o# Charlie an! "he re#lec"ions o# her in "he mirrors)$ my a""en"ion is a""rac"e! "o su)si!iary con"ras"s o# "he &hysical se""ing an! !+cor. he se""ing is symme"rical$ in "ha" "here are "'o cur"ains an! "'o lam&s "o a!! a )alance "o "he room. he colors an! &a""erns com&lemen" "he charac"er$ "he surroun!ings

are realis"ic #or her$ enhancing "he scene. he 'ay "he room is !ecora"e! re&resen"s a #eminine s"yle$ "ha" 'oul! no" necessarily )e #oun! else'here. %" seems "ha" a lo" o# "hough" 'as &u" in"o selec"ing "he various i"ems in "he room$ "his is a se""ing "ha" Charlie #eels com#or"a)le in. 7. his sho" con"ains a lo" o# visual in#orma"ion. he "e6"ure is highly !e"aile!$ as % am a)le "o !is"inguish )e"'een "he various o)*ec"s$ an! hy&o"hesi8e "he "y&e o# ma"erials use!. For e6am&le$ "he chair "ha" Charlie is si""ing in has a #urry "e6"ure- "he image is !e"aile! so "ha" % am a)le "o reali8e "his$ an! "he #ol!ing o# "he cur"ains is visi)le. he !ominan" #ocus in "his sho" is Charlie$ as she s&ea.s "o (eorge on "he "ele&hone. 9er loca"ion may no" )e im&or"an" "o her conversa"ion 'i"h (eorge$ ho'ever "he se""ing !oes enhance "he narra"ive$ sho'ing ho' Charlie lives. :. he sho" is !ivi!e! in"o "hree sec"ions$ "he cen"er$ "he le#"$ an! "he righ". he mos" im&or"an" &ar" o# "his com&osi"ion is "he cen"er$ 'hich con"ains "he !ominan" o# "his sho"$ Charlie an! "he mirrors "ha" &rovi!e a!!i"ional vie's o# her. She is "he only charac"er in "his scene$ an! "he se""ing com&lemen"s her. ;ue "o "he symme"rical arrangemen" o# "he room$ "he only o)*ec"s "ha" call a""en"ion an! &rovi!e a con"ras" "o "he righ" an! le#" si!es o# "he #rame$ are "he 'hi"e chair 'i"h "he shir" #ol!e! on "o&$ an! on "he o"her si!e is a small &ile o# clo"hing. <n "he le#" &ar" o# "he com&osi"ion$ "he chair a""rac"s a""en"ion !ue "o "he "e6"ure$ an! on "he righ" si!e o# "he #rame "he )righ" yello' clo"hing i"em causes "he vie'er "o )rie#ly #ocus on i". 10. % )elieve "his scene "a.es &lace in a close! #orm. he au!ience is given a 'in!o' in"o "he room. his image seems close! #rom "he res" o# Charlie/s home$ as "he symme"rical cur"ains seem "o sym)olically hol! every"hing in &lace.

11. Charlie 'oul! have room "o move aroun! in "his scene$ ho'ever$ % )elieve "his sho" is "igh"ly #rame!. he reason % )elieve "his is )ecause "here are several #rames 'i"hin #rames. he cur"ains on each si!e o# "he room ac" as a #rame$ an! as one moves closer "o "he cen"er o# "he image$ Charlie is #rame! )y "he "'o lam&s on her "a)le. A)ove "he charac"er$ Charlie is 'i"hin "he #rame o# a mirror$ 'hich is nearly in "he "o& cen"er o# "his sho". he small mirror on "he "a)le "ha" Charlie is using is circular$ similar "o an iris 'i"hin a #rame. his irising &laces em&hasis on a close u& o# Charlie/s #ace$ as she is &u""ing on ma.eu&. 1,. here seems "o )e "'o &lanes o# !e&"h #or "his image. he mi!!le o# "he #rame is 'here Charlie is loca"e!$ an! )o"h "he righ" an! le#" si!es com&lemen" her charac"er. he vie'er 'oul! )e &aying a""en"ion "o "he charac"er onscreen$ 'i"h "he )ac.groun! as "he home 'here she lives. 13. Charlie/s &lacemen" in "his #rame is a" "he cen"er. She is "he only charac"er &resen" in "his sho"$ an! her &osi"ion a" "he cen"er o# "he #rame ma.es her "he mos" im&or"an". here is no"hing in "he )ac.groun! "ha" 'oul! have more signi#icance "han her$ she is s&ea.ing 'i"h (eorge on "he &hone$ 'e are lis"ening "o her$ an! &aying a""en"ion "o her movemen"s. 11. he s"aging &osi"ion o# Charlie in "his scene is uncom#or"a)le "o vie'ers 'a"ching. he reason #or "his is )ecause 'e are seeing "he rear$ her )ac. is "o "he camera$ leaving "he au!ience isola"e!. 9o'ever$ "he mirrors in "he room allo' "he au!ience "o secon!ary &ers&ec"ives o# "he charac"er$ an! i# one is vie'ing her )y means o# "he "o& mirror$ "hey have a 0uar"er "urn sho" o# her. 12. %n "his sho"$ "he charac"er &ro6emics !o no" a&&ly in rela"ion "o Charlie/s &osi"ion "o

o"her charac"ers$ )ecause she is "he only one in "he room. he au!ience has a &ersonal !is"ance #rom her$ a&&ro6ima"ely "en #ee" a'ay$ "here#ore "here is more emo"ional a""achmen".

Analysis ,: =le&han": Ma.ing >lans (1:03:,1)

1. he !ominan" in "his sho" is =ric$ )ecause he is loca"e! on "he le#" si!e o# "he screen. As 'e rea! le#" "o righ"$ my a""en"ion 'as #irs" a""rac"e! "o "his charac"er. he charac"ers are no" a !ominan" con"ras" o# each o"her$ as "hey are )o"h 'earing !ar. clo"hing$ ho'ever "hey are a com&elling con"ras" "o "he 'hi"e gri! in "he )ac.groun!. ?o"h o# "hese charac"ers occu&y nearly e0ual areas o# "he #rame$ so a#"er loo.ing a" =ric$ "he au!ience 'oul! imme!ia"ely have "heir a""en"ion gui!e! "o'ar!s Ale6. hese villains are loo.ing a" a ma& o# "heir high school$ as "hey &lan an a""ac.$ an! a" "his &oin" in "he #ilm$ "he camera is #ocuse! on "he charac"ers ins"ea! o# "he ma& on "he "a)le. he ma& is sho'n &rior "o "his$ )u" as "he charac"ers ma.e "heir &lans$ "hey )ecome "he #ocus. ,. Al"hough "his is a sinis"er scene$ "he ligh" is high .ey. Ale6 an! =ric are evenly illumina"e!- "he room is )righ". he camera is "i"le! u&'ar!$ an! "he in!oor ligh"ing seems na"ural. % "hin. "ha" su)*ec"s may a&&ear "o )e )righ"er i# "he camera is "il"e! 'hen using in!oor ligh"ing. %n many homes "he ligh"s in some rooms$ such as "he .i"chen$ are loca"e! in "he ceiling. he ceiling ligh"s are no" visi)le in "his sho"$ al"hough "here is an area "o "he le#" o# "he #rame "ha" seems )righ"er$ in!ica"ing "ha" a ligh" may )e near)y. 3. he sho" in "his scene is a me!ium close u&$ sho'ing "he hea! an! shoul!ers o# =ric an! Ale6. he camera &ro6emics a&&ear "o )e a)ou" one #oo" a'ay #rom "he charac"ers. %"

remin!s me o# someone hol!ing a camera 'hen s&ea.ing an! #ilming "hemselves. his is an in"ima"e range$ "he charac"ers #ill "he #rame. 1. %n "his scene$ "he au!ience is loo.ing u& a" "he charac"ers. =ric an! Ale6 are loo.ing !o'n a" "he ma&$ "here#ore "he camera has )een &lace! in "he !irec"ion o# "heir sigh". his is a lo' camera angle$ increasing "he !ominance o# "he su)*ec"s. %" is in"imi!a"ing$ as i" a&&ears "ha" =ric an! Ale6 are s"an!ing over "he vie'er$ in a &osi"ion o# &o'er. (iven "he cruel &ersonali"ies o# "he charac"ers$ one 'oul! no" 'an" "o )e in a vulnera)le &osi"ion$ loo.ing u& a" "he an"agonis"s. 2. he !ominan" color in "his sho" is )lac. (or &erha&s i" is navy )lue). he )ac.groun! is a 'hi"e gri!$ 'hich is in !ee& con"ras" "o "he !ar. shir"s "ha" Ale6 an! =ric 'ear. Ale6/s shir" is "he !ar.es"$ mos" !ominan" color onscreen. his sho" con"ains color sym)olism$ as =ric an! Ale6 are "he villains$ "here#ore "hey are cloa.e! in !ar. colors. 5. his image seems "o )e sho" 'i"h a s"an!ar! lens$ i" is no" !is"or"e!. =ric a&&ears "o )e some'ha" larger$ )ecause he is sligh"ly closer "o "he camera. he sho" is no" mani&ula"e!$ a&&earing "rue "o li#e. %" is reminiscen" "o a &ho"ogra&h. % !o no" "hin. a #il"er 'as use! "o change "he image. he #ilm s"oc. use! is mos" li.ely slo' #ilm s"oc.$ &ro!ucing a smoo"her image 'i"h higher resolu"ion. 7. A#"er vie'ing "he !ominan" in "his image$ =ric$ "he vie'er 'oul! #ocus on Ale6 ne6". hese charac"ers are s"an!ing ne6" "o each o"her. he )ac.groun! is unremar.a)le$ "he vie'er 'oul! )e &aying a""en"ion "o "he charac"ers onscreen$ ins"ea! o# "he em&"y )ac.!ro& o# "he ceiling. 7. he !ensi"y o# "his image &rovi!es a highly !e"aile! sho" o# =ric an! Ale6. he )ac.groun! is mos"ly a re&e"i"ion o# a gri!. % am a)le "o no"ice "he "e6"ure o# )o"h

charac"er/s shir"s$ 'i"h a grea"er a""en"ion "o !e"ail an! varia"ion in "he &a""erns &resen" on Ale6/s shir". here are some 'in.les in "he #a)ric$ 'i"h a !i##eren" ma"erial use! a" "he shoul!ers- "his is a !e"aile! sho" 'hen loo.ing a" "e6"ure. :. he image is !ivi!e! in"o "'o segmen"s$ "he righ" an! "he le#". =ric occu&ies "he le#" si!e o# "he com&osi"ion. his segmen" is e0ual 'i"h "he righ" sec"ion$ an! as a 'hole$ "he com&osi"ion is !esigne! "o &resen" )o"h charac"ers "oge"her. hey are &lanning "he a""ac. as a "eam$ "here#ore "he image is )alance!$ 'i"h Ale6 on "he righ"$ an! =ric on "he le#". hey are )o"h !es"ruc"ive in!ivi!uals$ an! a" "his momen" "he au!ience visually i!en"i#ies "hem in "he same #rame. @ei"her o# "hese charac"ers occu&ies "he cen"er o# "he sho"$ Ale6 an! =ric are e0ually im&or"an" in "he #ilm. 10. his is a close! #orm image$ in "ha" "he charac"ers are &recisely &lace!. =ric an! Ale6 )alance "he sho"$ 'i"h one charac"er on "he le#"$ an! ano"her charac"er on "he righ". he visual elemen"s are arrange! care#ully. <u"si!e o# "he charac"ers$ "here is a 'hi"e gri! )ac.groun!. 11. hese charac"ers are "igh"ly #rame!. Ale6 an! =ric !o no" have any room "o move aroun! in "his s&ace. he 'orl! aroun! "hem is no" &resen"$ "his scene is all a)ou" "he charac"ers. his sho" resem)les a &ho"ogra&h o# "'o #rien!s$ or &ar"ners in crime. 1,. he !e&"h o# "his image is !irec"$ i" is a sho" com&ose! o# "'o in!ivi!uals. Ale6 an! =ric are "he #ocus o# "his sho"$ as "hey &lan "he a""ac.. he )ac.groun! !oes no" commen" on "he charac"ers$ i" is a 'ay "o have "he au!ience #ocus on "heir a""en"ion on "he an"agonis"s. 13. here is symme"ry )e"'een "he charac"ers$ "hey are &lace! ne6" "o each o"her. Ale6 an! =ric occu&y "he e!ges o# "he #rame. he vie'er 'ill connec" "hese charac"ers

"oge"her$ as "hey a&&ear in "he #rame. ?o"h o# "hem have "he same !evious &lan$ "o cause !evas"a"ion. hey are &lace! in close &ro6imi"y an! "he "'o villains !ra' "he a""en"ion o# "he vie'er. ;ue "o "he )ac.!ro& o# "he ceiling$ "he "'o charac"ers are "he only #igures "ha" are in #ocus. 11. =ric an! Ale6 are #acing "he au!ience. ?o"h ac"ors are in "he #ull #ron" &osi"ion$ vir"ually loo.ing in"o "he camera. =ric/s a""en"ion seems "o )e in "he common area o# "he camera lens$ 'hereas Ale6 is in"ima"ely loo.ing righ" a" "he camera. he vie'er 'oul! almos" have "he #eeling "ha" Ale6 is s"aring a" "hem. %n "his scene he is s"u!ying "he ma& as he &lans "o a""ac. his high school$ an! "he camera has )een &lace! in same &lace as "he ma& o# "he )uil!ing. 12. he &ro6imi"y )e"'een Ale6 an! =ric is &ersonal$ an! "hey !o no" have "ha" much s&ace a'ay #rom each o"her. he close &ro6imi"y is a re&resen"a"ion "ha" "hey are &lanning "he a""ac. "oge"her. he "'o villains are #rien!s$ an! "hey share "he same !es"ruc"ive goal. his sho" is "igh"ly #rame!.

Analysis 3: ;o "he Aigh" hing: Love an! 9a"e (0:20:30)

1. %n "his image$ "he !ominan" are "he BloveC an! Bha"eC rings "ha" Aa!io Aaheem has on his #ingers. he vie'er/s a""en"ion 'oul! )e on "he charac"er/s han!s$ )ecause "hey are "he larges" o)*ec"s on screen associa"e! 'i"h him. % have seen movie &os"ers #or o"her #ilms "ha" use "his same illusion$ &resen"ing a charac"er/s han! or #oo" as larger "han ac"ual si8e "o gra) "he vie'er/s a""en"ion. he 'ay "hey are ca&"ure! on #ilm &resen"s an o&"ical illusion o# !is&ro&or"ion$ ma.ing his han!s a&&ear larger "han his hea!. he gol! 'or!s o# BloveC an! Bha"eC are &rominen" in "he cen"er o# "he #rame. ,. Aa!io Aaheem is ou"si!e on a ho" Summer !ay$ "here#ore "he high .ey ligh"ing is a&&ro&ria"e #or "his scene. he area "ha" surroun!s him is evenly li"$ allo'ing "he au!ience "o have a clear vie' o# "he charac"er$ an! "he sym)olic BloveC an! Bha"eC rings on his #ingers. 3. his is a me!ium sho" o# "he charac"er$ sho'ing him #rom "he 'ais" u&. he sho" is #unc"ional #or "his scene$ an! "he camera seems "o )e a)ou" #ive #ee" a'ay #rom him. he camera has )een &lace! higher "han necessary "o #ilm "he charac"er$ an! % "hin. "he reason

#or "his 'as "o &rovi!e a vie' o# "he se""ing. he vie'er is a)le "o see more o# "he loca"ion$ "he se" com&lemen"s "he scene- "his is "he 'orl! "ha" Aa!io Aaheem is #amiliar 'i"h. 1. %n "his scene$ % )elieve "ha" "he angle &rovi!es an eye level vie' "o "he au!ience. De are no" loo.ing u& or !o'n on "he charac"er. his is a neu"ral sho" o# Aa!io Aaheem. % am a)le "o un!ers"an! his message "hrough his 'or!s an! &hysical ac"ions$ "he camera angle is no" necessary in &rovi!ing commen"ary in "his sho". his is a &o'er#ul scene 'i"h "he sym)olism o# love an! ha"e$ as i" rela"es "o "he neigh)orhoo! "ha" Aa!io Aaheem lives in. 9is !rama"ic e6&lana"ion o# "he "'o #orces can )e rela"e! "o "he s"ruggles "ha" "he charac"ers have in "his #ilm. %n or!er #or "he area "o survive$ "here mus" )e a higher sa"ura"ion o# love an! acce&"ance$ ins"ea! o# "he racial ha"re! "ha" &lagues "he min!s o# some o# "he #ilm/s in!ivi!uals. 2. he color values in "his sho" enhance "he image. he sa"ura"e! colors in "his scene seem "o re&resen" "he over'helming hea" "ha" "he charac"ers$ inclu!ing Aa!io Aaheem$ are e6&eriencing. % #eel "ha" "he !ominan" color in "his image is gol!. his is a color "ha" signi#ies "ha" some"hing is valua)le$ "he BloveC an! Bha"eC are sym)olic$ as "hey are crucial "o "he )alance o# "he socie"y "ha" Aa!io Aaheem lives in. hese conce&"s are in gol!$ as &hysical em)o!imen"s o# "he #orces "ha" can ei"her )ring "rium&h or !es"ruc"ion. %n "his scene$ "he 'or!s BloveC an! Bha"eC are visi)le$ ins"ea! o# invisi)le emo"ions. 5. % "hin. "his is a s"an!ar! lens$ as "here is clari"y o# "he charac"er an! his surroun!ings. As #ar as % can "ell$ "he se""ing is no" ou" o# #ocus. here !oes seem "o )e an em&hasis on Aa!io Aaheem/s han!s$ ho'ever$ % "hin. "ha" his e6"en!e! arms$ reaching "o'ar!s "he camera$ ma.e his han!s a&&ear "o )e larger "han "hey ac"ually are. he camera lens

"ransla"es 'ha" "he eyes are seeing$ al"hough any"hing "ha" is closer "o "he lens 'ill a&&ear "o )e larger. here is no" a #il"er "ha" !is"or"s "he image- "he minimal grain "ha" is &resen" is an in!ica"ion "ha" "his is &ro)a)ly a #as" #ilm s"oc.. 7. %n "his sho"$ "he su)si!iary con"ras"s are Aa!io Aaheem an! "he )uil!ing )ehin! him. he vie'er #ocuses on "he !ominan" o# "he BloveC an! Bha"eC rings$ an! "hen "he con"ras"s o# "he man "ha" has "hese sym)olic rings on his #ingers$ an! a#"er "ha"$ "hen "he se""ing "ha" "his #ilm "a.es &lace in. he charac"er un!ers"an!s "hese conce&"s$ an! he is a""em&"ing "o e6&lain "heir im&or"ance. 7. he visual in#orma"ion in "his sho" &resen"s Aa!io Aaheem in his neigh)orhoo!$ 'i"h "he &o'er#ul conce&"s o# BloveC an! Bha"eC on his han!s. he !e"ail is mo!era"e$ one is a)le "o i!en"i#y "he se""ing an! "he im&or"an" #ea"ures o# "his image$ "he charac"er an! "he rings on his #ingers. Mos" o# "he !e"ail is on "he me"allic rings "ha" Aa!io Aaheem is sharing 'i"h us. :. his image is !ivi!e! in"o "hree segmen"s. he cen"er con"ains Aa!io Aaheem$ an! "o "he righ" an! le#" "he se""ing is in vie'. <nly "he cen"er o# "his com&osi"ion is im&or"an"$ as "here are no" o"her charac"ers in "his #rame. 10. he #orm is o&en- i" is in#ormal an! "he scene #eels na"ural. Aa!io Aaheem is in "he cen"er o# "he screen$ ho'ever "his is a realis" image$ as i" #eels "ha" 'e have *us" 'al.e! "o'ar!s "he charac"er$ in "he neigh)orhoo! "ha" he .no's. 9is e6&lana"ion o# love an! ha"e is mean" #or "he au!ience as much as i" is #or Moo.ie. De are un!ers"an!ing "he im&or"ance o# "hese conce&"s in an average si"ua"ion$ "his is no" a s&eech "ha" is given in an au!i"orium. 'o elemen"s "ha" are hel! in care#ul )alance are "he rings$ as "hey are si!e )y si!e$ re&resen"ing a con"ras" in "he s&ec"rum.

11. his image is loosely #rame!- "he charac"er is #ree "o move aroun! in his surroun!ings$ he is no" "igh"ly enclose!. he loose #raming le"s "he vie'er "a.e in "he se""ing$ an! "his "y&e o# #raming may also re&resen" "ha" "he conce&"s o# love an! ha"e are no" "igh"ly in &lace$ "here is room #or "hem "o change an! s'i"ch )alance. 1,. he image is com&ose! o# "he )ac.groun!$ Aa!io Aaheem$ an! "he BloveC an! Bha"eC rings on his #ingers. he )ac.groun! o# "he )uil!ing an! "he "rees commen" on "he charac"er in "ha" "his is "he socie"y "ha" he lives in. Aa!io Aaheem cares a)ou" his neigh)orhoo!$ an! % )elieve "ha" he 'an"s "o increase "he BloveC an! !issi&a"e "he Bha"e.C 13. Aa!io Aaheem is a" "he cen"er o# "his sho". 9is loca"ion a" "he cen"er o# "he #rame$ )ecause he is "he mos" im&or"an" charac"er in "his scene. %# Aa!io Aaheem 'as loca"e! a'ay #rom "he cen"er$ "he sho" 'oul! no" have "he same meaning. he reason #or "his is )ecause he is "he cen"er o# a""en"ion. he #ocus o# Moo.ie an! "he au!ience is on him$ lis"ening "o his e6&lana"ion o# "he conce&"s o# Blove an! Bha"e$C an! ho' "hese conce&"s sha&e "he 'orl!. hey are a con"ras" "o each o"her. 11. he s"aging &osi"ion o# Aa!io Aaheem has him #acing "he camera$ loo.ing a" Moo.ie$ an! a" "he same "ime he is sym)olically loo.ing a" "he au!ience. 9is e6&lana"ion o# "he conce&"s o# BloveC an! Bha"eC are #or Moo.ie$ )u" as "he vie'er$ 'e are "he "rue lis"eners. De are in "he same &osi"ion as Moo.ie in "his scene. Aa!io Aaheem/s #ull #ron" &osi"ion !oes no" ma.e "he vie'er #eel uncom#or"a)le$ as he is in "he &osi"ion o# a #rien!. he charac"er is s&ea.ing "o us$ in an a""em&" "o enligh"en his lis"eners in regar!s "o "he &o'er#ul conce&"s o# BloveC an! Bha"e.C %# "he #ull #ron" &osi"ion 'as no" use!$ "he sho" 'oul! lose meaning. ?y sho'ing "he charac"er in #ron" o# "he camera$ "he rings are clearly !is&laye! on screen$ an! 'e are a)le "o see Aa!io Aaheem in "he 'ay "ha" Moo.ie

!oes. 12. here is only one charac"er in "he #rame. Aa!io Aaheem an! "he sym)olic rings on his #ingers are "he !ominan" #ocus o# "he vie'er. he o"her charac"er in "his scene is Moo.ie$ al"hough he is on "he o"her si!e o# "he camera$ no" &resen" in "he #rame.