Like many drama films, my opening title begins in a slow-paced manner, which enables theaudience to wholly observe the mise-en-scene, which due to being of an excessively vibrantnature having a huge variety of bright stand-out colors, not only serving as an attraction-thebroad distribution of colors coming into clear focus thanks to the effective and controlledpanning of the camera, but also to signify that the surroundings, due to their artistic nature maybelong to a female character, and this is exactly with whom the audience is supposed toestablish a proper contact with, since being the leading protagonist of the story, it is byunderstanding her particular framework that the audience will manage to gain some insight intoher character as to how she perceives the world as, and also how her representation of it effectsthe other actors, and more importantly the audience. The piano in the background, with it sslow rhythmic progression does well to hint that something stressful or troublesome is going tohappen, and keeps building the suspence accordingly. The editing of these first establishingshots, being slow-paced facilitates this dramatic representation of the theme itself, which is toend eventually as a clash between male, and female dominance over some specified matters.And, as the panning finally halts, and the camera focuses on Arikas exhausted form, theaudience is able to gather from the way she is tucked soundlessly in her bed that she is sleepingdeeply, a result of being deprived of sleep earlier, and hence relishing the chance to make up forthe lost time. The audience may also, thanks to the camera effectively focusing on the clock, aswell as a significant and deliberately less-focused shot of Arika sleeping with her eyesunderstand after looking at the time set that it is quite late into the night, and therefore Arikasleeping doesnt look unnatural since she is sleeping at the most appropriate time. The clockalso acts as a symbol of time spent in some sort of work( in Arikas case manual labor since she isthe steoreotyped daughter of the East), and signifies to the audience that Arika deserves thissleep, and has earned it justly having perhaps utilized her time in a productive manner.Also when Saad her brother comes in, the camera placement for the door banging shot is quiteuseful since it takes the audience away from the girly surroundings for a moment, and bringsforth an interesting climax, which is followed by a near-distant shot of Saad, whose costumespeaks even louder than his commanding voice. The black costume signifies his power, hisfreedom from authority, and being the only bright dark color- an interesting paradox in momentmakes the audience concentrate more on him rather than the less-stand-out costume of Arikas,and the reason for this is to insert the growing feeling of superiority in the male character byplacing less emphasis on the female during the conversation so as to further indicate that thepilot of this conversation is Saad. Also, being taller, as well as having a cool hair-do, this createsan overshadowing effect, which is to further signify that Arika feeling either under obligation toserve him or simply because of being scared of him as completely genuine.Also, the pink pillow Saad throws at her in order to wake her up further acts as an indication ofhis demanding presence, which would not be tamed unless met with the required response. The
pink pillow, because of its bright color, and of a noticeable mass makes it attractive enough forthe audience to take notice of it as he throws it at Arika. This attraction of the audience toSaads action also results in addressing the issue present with his rather primitive behavior sincehe throws it at Arika without any consideration of the point that she may not wish to bedisturbed from her beauty sleep, which he then robs away by executing such an action. Also thisshows that Saad would become physical, should he feel that his demands arent being met bymere auditory communication.After that brief encounter with her brother, the camera brings into focus a larger section of thehouse, and instead of being heavily decorated as one would expect to be in an upper classhouse, this one is devoid of any significant decoration, and even Arika upon approaching anearby couch picks up a white jacket, and covers herself well into it, as if signifying herlimitations since her tolerably bright costume gets hidden to a great extent, and the emptinessand suffocation already being symbolized by the surroundings also takes effect on Arika, thanksto the white jacket she wears without any hint of joy. The white jacket again serves as anattraction since it stands out in the mise-en-scene being extremely white, and at first looking abit welcoming, but when Arika wears it, the camera does well to focus on her heavy-heartedness at the prospect of being held against her will, and sort of forced to do labor whenshe didnt want to, and both the surroundings as well as the white jacket managed to effectivelycapture and address the situation.Now, she enters the kitchen which upon her predicted entrance gives the impression that shehas been here often, and therefore doesnt need to familiarize herself with it. And thanks to theediting, the audience jumps to the scene in which she is frying a kabab. The dull nature of theutensils, as well as Arikas sullen mood are brought into a causal relationship thanks to thecamera, which doesnt move much, and focuses on the necessary mise-en-scene, which is afrying pan, a crispy kabab being gloomily tossed in the pan, and the weak orange bread packet,which all keeps the audience occupied since the ladies watching the movie can relate with theirsimilar experiences in the kitchen, and observing her limited movements understand as to whyworking in the kitchen for Arika proves to be quite a bother for her.The final scene, however, is of a completely off-the-hook nature as it brings into focus the livingroom in which Saad is sprawled on a couch, relaxing as if he couldnt even comprehend thetrouble he had put his sister through, when all this time there was cooked food available for himto eat. However, Saad this time, as the camera captures it looks too tired to try dominating, andmore focus during this conversation is on Arika, who undergoes a series of contortedexpressions before punching Saad suddenly, and managing to catch the audience unawares.
Therefore, I can claim that my actor choice as well as costume and props choice along with thearrangement of my mise-en-scene serve as both identifiable attractions, as well as manage toaddress the themes in an efficient manner. Also, the camera movement, and angles as statedabove also facilitate the dramatic representation of these themes by focusing very properly andin a detailed manner of both the surroundings, as well as the characters, who are beinginfluenced by it to a great extent.