Your bio/autobios are in the post and on the way...! In the meantime, check out
http://www.webenglishteacher.com/biography.html
for ideas of generic lessons you could present on biographies/autobiographies. Each island is going to be presenting a 5-10 minute class lesson on biographies/autobiographies (i.e. the value of this genre, creating your own, differences in style and intention, etc.)
Friday, June 5, 2009
Island Landlocked theme comments...
Theme: Freedom in surrender
Tsotsi gives up the baby at the parents’ house. He did not only free the baby but frees his conscience and emotional baggage as well.
Characterisation
• Tsotsi
We focus on Tsotsi’s character the most as we see the most change. Tsotsi becomes more vulnerable than the baby in this scene as he loses control. This is contradictory to his character in the beginning of the film.
Camera Movement
• Close up shot when Tsotsi puts the baby down.
• The camera zooms out from a close up shot when Tsotsi picks the baby up and hands the baby over.
• When the father approaches Tsotsi to get his baby there is a medium eye level shot.
Costuming
• Tsotsi wears white showing him surrendering and his growth as in the character. White indicates purity and cleansing and this shows Tsotsi becoming as better person.
Sound track
• Tsotsi’s leit motif in that scene shows or indicates the change in his character and him turning over a new leaf.
• The leit motif plays when his character is changing so the motif is particularly evident in this scene.
Tsotsi gives up the baby at the parents’ house. He did not only free the baby but frees his conscience and emotional baggage as well.
Characterisation
• Tsotsi
We focus on Tsotsi’s character the most as we see the most change. Tsotsi becomes more vulnerable than the baby in this scene as he loses control. This is contradictory to his character in the beginning of the film.
Camera Movement
• Close up shot when Tsotsi puts the baby down.
• The camera zooms out from a close up shot when Tsotsi picks the baby up and hands the baby over.
• When the father approaches Tsotsi to get his baby there is a medium eye level shot.
Costuming
• Tsotsi wears white showing him surrendering and his growth as in the character. White indicates purity and cleansing and this shows Tsotsi becoming as better person.
Sound track
• Tsotsi’s leit motif in that scene shows or indicates the change in his character and him turning over a new leaf.
• The leit motif plays when his character is changing so the motif is particularly evident in this scene.
Thursday, May 28, 2009
The Island with the LONG NAME-Loyalty
After Tsotsi encounters the baby his priorities change and he informs Butcher and Aap that he does not want to be part of the gang anymore. Later Aap returns by himself displaying his loyalty to Tsotsi.
The camera angles support the theme of loyalty by using level point of view shots to show equality between Tsotsi and Aap in the scene. For the first time int he film Aap is not Tsotsi's inferior. He comes to Tsotsi as a friend and not as just a member of the gang.
Their costumes in the scene emphasises Aap's loyalty to Tsotsi even though Tsotsi's clothing is constantly changing. Tsotsi is wearing a vest opposed to his usual leather jacket, where as loyal Aap remains in his blue over-alls.
The camera angles support the theme of loyalty by using level point of view shots to show equality between Tsotsi and Aap in the scene. For the first time int he film Aap is not Tsotsi's inferior. He comes to Tsotsi as a friend and not as just a member of the gang.
Their costumes in the scene emphasises Aap's loyalty to Tsotsi even though Tsotsi's clothing is constantly changing. Tsotsi is wearing a vest opposed to his usual leather jacket, where as loyal Aap remains in his blue over-alls.
Jarred van Rooyen, Phillip Demetriou, George Bourdos, Herman Hoogenboezem, Keagan Leamy, James Hosken
Zoltan Island's theme discussion
The scene starts with a camera angle that looks down on Pumla and the father. There baby was stolen by Tsotsi and she was shot so this camera angle makes us feel how venerable they are, it also makes us feel sympathetic towards them. Later on in the scene when the father is talking to the inspectors a similar angle is used, as we are looking from the inspectors down on Pumla this shows how powerless she is in the situation. When she does wake up there is immediately a camera shot that is below eye level and is focused on her, this helps express her anger and hatred towards Tsotsi.
It was apparent that the detectives where intimidated by Pumla and where ashamed that they could do little to help the couple as the chances of finding the baby was slim. The detectives are not very excited and do not appear as if they are able to cope with the responsibility of the case as they know what the chances are of success are.
The lighting in the room is quite bright as it normally is in a hospital. This light does not bring about a warm feeling, which is used to emphases the low chances of the return of her baby.
Pumla is wearing a theatre gown this is also used to show how helpless she is.
It was apparent that the detectives where intimidated by Pumla and where ashamed that they could do little to help the couple as the chances of finding the baby was slim. The detectives are not very excited and do not appear as if they are able to cope with the responsibility of the case as they know what the chances are of success are.
The lighting in the room is quite bright as it normally is in a hospital. This light does not bring about a warm feeling, which is used to emphases the low chances of the return of her baby.
Pumla is wearing a theatre gown this is also used to show how helpless she is.
Wednesday, May 27, 2009
Ninja Pandaz
Theme of Love:
Final Scene – time to put things right
Setting:
Theme of Love:
Final Scene – time to put things right
Setting:
- He is back at the baby's actual home; this shows he cares and knows the baby will do better there than in the townships.
- He holds the baby as if it belongs to him. He does not want to return it as he has found love for him.
Costuming:
- Tsotsi is no longer wearing the black, sad, colours from all the previous scenes. It shows us that he has developed in to a light hearted more loving character.
- The black costume worn in the other scenes is a sign of crime and/or violence. The white shows a sign of surrender to the old life.
Type of shot and shot composition:
- The close up his face when the baby cries shows us a sign of worrying for the crying child; he turns back to help the baby.
- When handing the baby the camera shows us he is nervous. It shows his tears. He does not want to let the little one go. His love for him is too strong.
Lighting and colour:
- The bulk of the light is cast upon Tsotsi and the baby. They are the centre stage of the scene. It shows the first place where they came together (not met) and also the last (of what we know) of their short relationship.
- The dark background shows us where he has come from. He is no longer in hiding and has come into reconciliation for the first time since the death of his beloved dog. His love for the baby changed his personality.
- Hwan
- Reghardt
- Sam
- David-Hein
- Devin
Manhattan - Theme
Group: Manhattan
Theme: Life is a gamble.
Opening scene
Camera movements and angles
The scene opens with a fade-in, fade-out technique on the dice. The effect is quite chaotic. The viewer struggles to make out the characters and who is saying what. This emphasises the idea of life being a gamble - you never know what is going to happen. A view expansion shot is taken where the camera zooms out. There is a close-up shot of the dice followed by view of the room and then followed by a bird’s-eye view shot of the township. The camera tracks Tsotsi around the township – he is the leader.
Costuming and lighting
Tsotsi’s friends are wearing jackets and their outfit is layered. Tsotsi, however, is wearing a red shirt with pants. The combination is very simple. The general colour in the scene is a darkish brown. This makes Tsotsi, with his red shirt, stand out. One questions how they afford these clothes. A gamble, maybe? The only light in the room (natural lighting) comes from a window – the morning sun.
Characterization
In the opening scene Tsotsi is standing slightly apart from the others. He is refusing to join the gambling. Maybe he is already questioning his life – is his life really a gamble? What can he do to prevent himself from dying or living based on the roll of dice – based on luck? He is already trying to come to terms with his past and accept it as something he can do nothing about. His destiny sets him apart from the others – he will chose to live a life without the risks involved in a gamble.
Theme: Life is a gamble.
Opening scene
Camera movements and angles
The scene opens with a fade-in, fade-out technique on the dice. The effect is quite chaotic. The viewer struggles to make out the characters and who is saying what. This emphasises the idea of life being a gamble - you never know what is going to happen. A view expansion shot is taken where the camera zooms out. There is a close-up shot of the dice followed by view of the room and then followed by a bird’s-eye view shot of the township. The camera tracks Tsotsi around the township – he is the leader.
Costuming and lighting
Tsotsi’s friends are wearing jackets and their outfit is layered. Tsotsi, however, is wearing a red shirt with pants. The combination is very simple. The general colour in the scene is a darkish brown. This makes Tsotsi, with his red shirt, stand out. One questions how they afford these clothes. A gamble, maybe? The only light in the room (natural lighting) comes from a window – the morning sun.
Characterization
In the opening scene Tsotsi is standing slightly apart from the others. He is refusing to join the gambling. Maybe he is already questioning his life – is his life really a gamble? What can he do to prevent himself from dying or living based on the roll of dice – based on luck? He is already trying to come to terms with his past and accept it as something he can do nothing about. His destiny sets him apart from the others – he will chose to live a life without the risks involved in a gamble.
Tuesday, May 26, 2009
THE GLAVES. task3 'Tsotsi'
The theme that we have chosen to evaluate is reconciliation; this theme is most evident in the scene when Tsotsi is making amends with Boston, the ‘friend’ that he beat up at the bar after a controversial confrontation.
Characterization
· In this scene we have Tsotsi and Boston, the two are having a dialogue, and here Tsotsi apologizes to Boston.
Camera movements and angles
· The opening of this scene shows Tsotsi putting down his gun- this could be viewed that he is surrendering. He is opening himself up to Boston.
· The close-ups on both their faces show the viewer the emotions that are actually being portrayed by both Tsotsi and Boston.
· The horizontal angle that is shown between the two men is to indicate that both of them are set on the same level, there is no longer that dominance that Tsotsi usually has over him(Boston)
Setting
· The scene is set inside Tsotsi’s home, where he has invited Boston to stay- this could be said that this act insinuated that Tsotsi would like to make amends.
· Another intrigue is that Boston is sleeping on Tsotsi’s bed! This shows that Tsotsi is truly apologetic; he even went as far as to place Boston in his own personal space.
Index
· The indexical object in the scene is the candle. This is an index of Tsotsi’s ‘good’ side; a candle is a typical way of showing the positive side of people. In this scene it was so. The fact that he was apologizing hence the inclusion of the candle.
Lighting
· This scene had no artificial colour; it was all natural- the candle and the sun rays peeking through the room. The dark mood makes the scene more somber, the effect of an apology is intensified.
· The darkness also makes the scene more personal and intimate. The reconciliation feels more genuine- the mood created by the light (lack of) makes it that way.
Composition
· The horizontal angle that is shown between the two men is to indicate that both of them are set on the same level; there is no longer that dominance that Tsotsi usually has over him (Boston). Horizontal lines are also restful and peaceful.
Mandisi Mzenze
Mark Tollet
Bame Nkate
Nipho Matsane
Nkanyiso Tshwete
Shaun daFonseca
Characterization
· In this scene we have Tsotsi and Boston, the two are having a dialogue, and here Tsotsi apologizes to Boston.
Camera movements and angles
· The opening of this scene shows Tsotsi putting down his gun- this could be viewed that he is surrendering. He is opening himself up to Boston.
· The close-ups on both their faces show the viewer the emotions that are actually being portrayed by both Tsotsi and Boston.
· The horizontal angle that is shown between the two men is to indicate that both of them are set on the same level, there is no longer that dominance that Tsotsi usually has over him(Boston)
Setting
· The scene is set inside Tsotsi’s home, where he has invited Boston to stay- this could be said that this act insinuated that Tsotsi would like to make amends.
· Another intrigue is that Boston is sleeping on Tsotsi’s bed! This shows that Tsotsi is truly apologetic; he even went as far as to place Boston in his own personal space.
Index
· The indexical object in the scene is the candle. This is an index of Tsotsi’s ‘good’ side; a candle is a typical way of showing the positive side of people. In this scene it was so. The fact that he was apologizing hence the inclusion of the candle.
Lighting
· This scene had no artificial colour; it was all natural- the candle and the sun rays peeking through the room. The dark mood makes the scene more somber, the effect of an apology is intensified.
· The darkness also makes the scene more personal and intimate. The reconciliation feels more genuine- the mood created by the light (lack of) makes it that way.
Composition
· The horizontal angle that is shown between the two men is to indicate that both of them are set on the same level; there is no longer that dominance that Tsotsi usually has over him (Boston). Horizontal lines are also restful and peaceful.
Mandisi Mzenze
Mark Tollet
Bame Nkate
Nipho Matsane
Nkanyiso Tshwete
Shaun daFonseca
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