Answered You can buy a ready-made answer or pick a professional tutor to order an original one.
FOCUS ON MOOD IN FILMAssignment: Choose one of the films listed below for critical analysis. All of them explore the topic of love, each form corresponding to an age-appropriate stage. Introduce the m
FOCUS ON MOOD IN FILM
Assignment: Choose one of the films listed below for critical analysis. All of them explore the topic of love, each form corresponding to an age-appropriate stage. Introduce the main character(s). What is the starting situation? Describe the problem(s). Summarize the plot. How serious or light-hearted is the handling of the material? What supports your interpretation? Do close readings of one or two scenes--no more than three-to-five minutes long--that you consider pivotal to the outcome of the movie and/or your response to it. What effect or impact on the audience is intended? Why do you think so? What techniques are deployed towards that end? (For a recap on narrative arcs, consisting of three parts, namely, (1) problem, (2) complication, and (3) resolution, revisit the chapter excerpt from Andrew Glassner's Interactive Storytelling: Techniques for 21st Century Fiction on the course "Home" page.)
- @
- 1030 orders completed
- ANSWER
-
Tutor has posted answer for $15.00. See answer's preview
*** ************************************************************ ************* main ********** in ****** Lunchbox” *** *** and ****** Ila is ******* *** has a ******** *** **** as a ********* ******** ******* *** her ******* *** ****** care ** *** ******** *** Deshpande ** Aunty ******* ******** ** *** ******* ****** ** ****** Unlike Ila Saajan ***** ** an accountant Saajan ** * widower *********** ********** ****** ** ******** *** ****** interactions **** ********* *** ********* ****** ** * ******* that becomes ******* ** ******* **** ***** she ********** ***** him *** *********** lunchbox *** *** ***** ** ******** ************** *** realizes that *** husband is ******** *** ** ********* by Saajan’s ******** **************** *** ***** **** ****** ** lonely *** **** ****** ** Ila’s food *** ******* ***** As *** *** ******** ** communicate ****** ******* more ****** ***** Ila becomes ***** ****** ** ***** *** troubled ******** after *********** infidelity Saajan **** decides ** **** *** *** after ****** in ********** for a ******** ***** of ********** the ******** ** ******* to *** ***** ******* ********** *** **** ****** ** showing the ******** process **** ******* ***** ** ********** workplace Ila ** ***** ********* the meal **** * *** inscribed for *** ******* Sajaan ** seen ** be shocked ** *** ******* ** *** **** ** ***** * ****** *** reads ****** inscribes a *** **** that comments ** *** **** Ila ** ******* ** *** ******** ***** *** ***** is ***** to *** ***** ***** ** ***** the **** characters meet ****** ** * ******* ***** *** ******** death ***** Ila is ** * difficult ******** *** ********** ***** ******** **** to the **** *** ************** ******* the ***** ******* *** ***** ** ***** ******** ********** part uses ****** expressions in *** absence ** voice *** lack ** ***** ******* a **** **** ** the movie *** ******** tones ** *** ********** ***** room ** focus on *** ******** characteristics ** is ** ****** ************ of *** alter scenes **** ******* seriousness *** *** *** ** ***** ****** ****** ** ******* this ***** The scene ** influential at the ******** ***** for *** Character problem ************* ***** pivotal scene ** **** ** *** ******* *** ****** at *** ********** *** scene ********* with * scene **** ****** is ******** **** tasks ** **** *** ******** ******** *** audience *** Saajan’s ******* ** attend *** **** The ***** is **** **** no ********** ***** playing ***** is **** **** ********** ***** ** *** restaurant and ******* ***** *** ***** ****** **** * **** *** Ila’s **** ****** ******* *** ****** ********** *** ****** ********** ********** sadness ** the ****** ***** **** **** her ** ****** *** ****** ***** (Rotesh ****** *** ***** ** followed ** *** ***** **** *** ****** *** ********** ***** is ******* ** *** ********* ***** ** limits *** ****** ************** ******* *** *** Saajan *** film creators ******* ***** sound and relied ** *** ***** ** *** ****** ** move *** audience to ******* *** ***** ******** **** towards ****** for ******* ** ****** *** ******* ** sound makes the ***** less ******** ** ********* the *** mood experienced ** *** character The scene ******** the ******* ** *** *** ********** ** **** to ****** ******** ** **** **** * ***** that ******* the *** ** the story ***** ********** ** an ******* ** **** their ********** ****** fails ** **** *** ** ** **** old *** ** * ********* ** *** narrative *** *** ***** ******** * ************ ** *** **** *** ************ is ** ******* **** limits *** story characters from resolving issues ********* ***** ********** failure ** **** ** * ************ that ******** *** **** from resolving Ila ** ***** ******** ** ***** the ********** ******* **** ** *** **** is *** *** **** ********** *** **** ****** a *** mood from *** ***** **** * **** of ********** *********** *** *** ****** **** **** form ** ********** to *** ********* *** **** ** *** **** ** sad ***** ** ******** two correspondents ******* ***** ******* The film **** ****** expression *** ***** ******** ********** ** ******* * *** **** ** *** **** *** **** **** eliminates *** *** ** *** form ** ***** ** emphasize *** *** **** *** ******** on ******** ****** is *********** to ******* a *** mood The ******** ****** ****** in ******** ** the ****** expression *** ***** ******** ****** ** the characters *** ****** ******** ** also ********* ** ***** the ***** ** the camera depending on *** **** The camera moves towards the ********* *** ******* *** ******** ** ********* ** loneliness *** plot ** also **** to *********** * *** **** *** **** *** failed ** ***** *** two ****** *** thus *** the sad **** in suspense ReferencesGlassner A ****** Interactive ************* Techniques for 21st ******* ******* AK Peters/CRC PressRitesh Batra (2013) *** ******** * *******