Scene Analysis Essay

Death is a part of everyone’s life at some point, whether a family member dies, or a person just hears about someone who died on the news, but death is not always this awful end to a happy life. Some see it as going to a better place, whether they truly believe in a literal place or simply an imaginary one, this helps the people still alive cope with the fact that the person they once loved so dearly will no longer be with them. This concept of death and going to a better place can be seen in one of the last scenes of the movie, Finding Neverland. In this movie, a widow of four boys becomes deathly ill and in the third to last scene they all know she is close to the end. Because of her illness she was unable to go see their family friend, James' play, thus he and the boys bring the play to her at their house. At the end of the play, the family watches as she descends into this beautiful garden that has been created in their backyard just like as if she was going to a better place, also known as Neverland in this movie, where nothing can hurt her and where she can be happy forever. This scene is all about having to let go, but how with courage and a little imagination this process does not have to be so dark and depressing; that instead everything can end up being alright.

Through the use of the music, lighting and different colors this imaginary place called Neverland can be fully seen and grasped. The music in this scene while somewhat sad also has this mysteriously playful tone about it thus still keeping the realistic notion that she is in fact dying, but there remains this sense of wonder and promise that she will be in a better place. The high contrast lighting also helps build this imagined wonderland by making it seem as though all of the bright and cheerful light lingers in the gardenlike place in front of her. There are shadows behind the family and her as they stand together looking at the beautiful scene in front of them, then as she walks into the garden the shadows stay behind along with the family signifying her descent into the light or her death. By having the shadows remain behind the family symbolizes how she leaves her sickness and all the bad things behind her as she goes to the place without sickness or grief. The contrasting colors between the garden and the family illustrate her transition between life and death. The colors on and surrounding the family are all very cold and bland with whites and grays, whereas the colors in the garden are pink, green, purple, yellow, and more simply very warm and inviting colors. This difference in colors defines the transition of her dying, but that that shift from one world to another, though sad, is safe and promising. Through the music, lighting and transitional colors the ability to imagine this new and mysteriously "better"place can be attained.

The difference between characters, the main and the imagined ones, along with the setting help show this change about to happen revealing a tone of strength and courage from the family. There are first the main characters, the boys, the mother, the grandmother and the family friend, James. The beginning of this scene they are all seen standing together starring off into the garden, mesmerized by its beauty as well as tormented by the thought of soon losing their mother, no matter how wonderful a place she will be going to. Seeing them very close together, two boys helping hold up their mother, James standing behind her, with the two other boys very close to the grandmother shows their strength as a family and then even once the family is seen without the mother they seem strong while she is courageous in walking into the garden or facing death. This strength helps the audience know that this family will get through this together giving a sense of hope that eventually everything will be alright again. Then there are the imagined/make-believe characters who set the stage for the garden/Neverland. All in bright colors and together smiling and laughing gives this gloomy scene that playful and hopeful tone as mentioned before. The colorful cheeriness of these characters help display how this new place happens to be filled with lots of love and joy just like the family's life once was full of. This sweet and optimistic atmosphere created by the characters comes mainly from the setting of the garden in particular. The "division" between the living room and the garden as well as the two completely different surroundings symbolize the transformation that the mother will soon undergo and the adjustment that the family will have to make without her there. Seeing a shot of the family with the living room still in the background in between shots of the mother making her way down into the garden signifies her death and how her absence will significantly affect the family left behind. Though through this struggle they will prevail.

This whole scene exemplifies the process of losing someone and how through imagination and courage this transition does not have to be so terrible; that hope remains throughout this process and that happiness can still be achieved. The imagination to help the people left behind know that their loved one is in a better place, whether it be Neverland or somewhere else and the courage to believe in their imaginations and to get through it all. Through the music, lighting, the different colors, the difference between the two types of characters and the setting this concept is conveyed.

Group Screenplay

Shot 1: Establishing Shot with Janie and Tea Cake sitting on the grass on a nice day enjoying each other's company (beginning of development of their relationship)
Camera: zooms out from the couple holding hands while music begins
Dialogue: Tea Cake "Oh Janie, I love it when you wear your hair down." (couple smiles at each other)- Illustrates motif of Janie's hair

Shot 2: cut to Janie and Tea Cake playing tether ball together; music is louder. (continuation of developing their relationship)

Shot 3: music becomes softer as cut to shot of the couple fishing and playing with a bug.
Dialogue: Janie "It's a love bug."
Tea Cake tosses bug in between Janie's legs. As Janie tries to pick it up she says
"And I think I killed it."

Shot 4: cut back to shot of them playing tetherball again as music becomes louder once more.

Shot 5: Music becomes very quiet as cut to shot of the two trying to spray each other with the hose; developing their relationship still.

Shot 6: cut back to shot of them playing tetherball again; music increases.

Shot 7: cut again back to shot of the two fishing and playfully flirting; music decreases.
Dialogue: Janie "I'm so glad we are gettin' married Tea Cake."
Tea Cake "Me too."
Janie "Are ya really?"
Tea Cake "Uh yeah."

Shot 8: cut to shot of them playing with the hose again; music gets louder again.

Shot 9: cut to shot of them fishing again; music softens.
Dialogue: Janie "There's a blue heron" (pointing and smiling at Tea Cake)
"A great blue heron."
Tea Cake "You're right. Good eyes."
Janie "You're a lousy husband." (she jokingly smiles at Tea Cake)
Tea Cake "We're not married yet."
Janie "Good thing, I'd leave you... no love."

Shot 10: cut back to the two spraying each other with the hose and Tea Cake picks up Janie threatening to throw her in the pool, but he does not; music increases. (end of development of their relationship)

Shot 11: music completely stops as cut to shot of the tree (motif) blowing in the rain/hurricane to create an establishing shot to transition to second part of the video where the two get caught in the storm.

Shot 12: cut to shot of a dead man lying on the grass with blood on his face; dark and erie music begins
Camera: zooms in for a close up of his face and away showing a long shot and pans around him to give the creepy mood.

Shot 13: cut to long shot of Tea Cake and Janie walking through the storm together (through the rain).
Camera: follows them down the path they walk by doing a dolly shot.
Dialogue: Janie "Oh Tea Cake..." (she says fearfully trying to stay close to him)
Tea Cake "Oh no."
Janie "Oh my man..."

Shot 14: cut to close up of Tea Cake holding onto Janie while doing a dolly shot as he leads her to the tree (motif) to hold onto; once they reach the tree and begin to hold on the music heightens intensifying the dangerous situation they are in.

Shot 15: cut to medium shot of Tea Cake and Janie trying to huddle together under the tree; music becomes louder/heightens even more.

Shot 16: cut to longer shot of the two under the tree trying to hold on; music heightens again.
Camera: zooms in to the two under the tree.
Dialogue: Janie cries out "Tea Caaake..."
Tea Cake "Hold on Janie."
Janie cries out "Aaaaahhhhh..."

Shot 17: cut to shot of them under tree from a different angle doing a medium shot; music continues to heighten.
Dialogue: Tea Cake "Let's go over here."

Tea Cake turns and walks towards grass to lay down and Janie follows him.
Camera: follows the couple with a dolly shot as the two walk over to the grass and lye down next to each other in exhaustion.

Shot 18: quick jump cut to different angled shot of them lying on the grass. Janie gets up calling out Tea Cake's name trying to look for something to shelter them.
Camera: pans to follow Janie as she gets up. Janie cries out a little once she is out of sight.

Shot 19: cut to where Janie went showing continuity; music continues to heighten as Janie picks up a piece of roofing and gets caught up in the storm.
Camera: has to pan a little to stay with her and her being thrown around by the storm.
Zooms out as she makes her back to Tea Cake, but she is unable to reach him because she is being tossed around by the storm.
Dialogue: Janie "Oh Tea Cake..." (as she runs out of the shot)

Shot 20: cut to close up from high angle of Tea Cake exhausted and lying on the grass; music is not quite as intense.
Camera: zooms out, away from his face to show a medium shot; music heightens.
Does a dolly shot as Tea Cake gets up and runs towards Janie's screams as she splashes into the lake.
Dialogue: Tea Cake "JANIE" (he yells as he runs to her)

Shot 21: cut to shot of the water as Janie is drowning; music heightens.

Shot 22: cut to shot of Tea Cake jumping in after her; music gets less as intense once he jumps in.
Camera: zooms in on the two drowning.

Shot 23: cut to another shot (high angle) of the two drowning.
Camera: zooms in to a close up of Janie as music fades out and she yells...
Dialogue: Janie... "TEA CAKE"
Tea Cake "JANIE" (hear in the background)
Camera: pans to Tea Cake drowning pretty close to her and zooms in.

Shot 24: cut to shot of the whales (aka the "cows") getting rained on; music begins again, starting to build

Shot 25: cut to Janie and Tea Cake drowning again.
Dialogue: Janie "TEA CAKE"
Tea Cake "JANIE"
Camera: zooms in on Tea Cake's head going under water. And then it zooms back out as Tea Cake yells...
Tea Cake "Janie, swim towards the cows."
Janie "I can't make it..."
Tea Cake "Towards the cows."
Camera: from high angle zooms out showing long shot of the two trying to swim towards the cows (who are not seen yet)

Shot 26: cut to shot of whales in the water again; music intensifies.
Camera: zooms out showing long shot of the two swimming towards the left "cow" and eventually getting to it and holding on.
Dialogue: Janie "Grab onto something..."

Shot 27: cut to shot of dog (aka Bolshevik) on the other whale; music intensifies once more.
Dialogue (two characters not in scene yet):
Janie "Ah, Tea Cake."
Tea Cake "I got ya'"
Janie "TEA CAKE"
Camera: zooms out showing Tea Cake and Janie holding onto other whale swimming towards the dog/other whale.
Tea Cake begins to stab the dog as Janie yells...
Janie "Get him Tea Cake... get him with the chair. TEA CAKE, stab him again."

Shot 28: cut to shot of whales with dog and Tea Cake stabbing the dog again; music dramatically intensifies.

Shot 29: cut to Tea Cake under water stabbing the dog and there is a "mooo" heard from a "cow" in the background.

Shot 30: cut to close up from high angle of Tea Cake's head holding the dog/getting bitten by it.
Camera: zooms out to show medium shot of the two fighting.

Shot 31: cut to shot of Tea Cake and Janie holding onto whale while Tea Cake is also stabbing the dog once more.

Shot 32: cut to high angle shot of Tea Cake and Janie holding onto the whale as Tea Cake throws the wounded dog.

Shot 33: cut to lower angle shot/more parallel to the ground of them trying to swim with the whale towards shore, but seeing an innocent drowning person swimming close by.
Dialogue: Janie "Tea Cake, we should help her..." (pointing to the swimmer)
Tea Cake "Leave her. Just swim to shore."
Camera: zooms/pans out to show swimmer going by. Music continues to be intense as pan back to Janie and Tea Cake swimming to shore.

Shot 34: cut to shot from high angle doing a dolly shot of the two swimming to shore and both laying on down after getting out of the water; music slowly fades out.
Camera: zooms in to close up of Janie's face as she rolls around disoriented.

Shot 35: cut to high angle shot of Janie over Tea Cake who is lying down below her bleeding from the dog bite.
Dialogue: Janie "Oh the dog... are you ok baby?" (she says as she shakes him)
Tea Cake "Yeah I'm fine... what?"
Janie interrupts him "No sh, save your strength. Don't talk."
Music slowly and very quietly/subtly begins again.

Shot 36: cut to angled shot that is more parallel to the ground with Tea Cake lying there in pain/disoriented and Janie goes for help.
Camera: zooms out as Janie begins to get up and runs off in the background.
Dialogue: Janie "I'll got get help... HELP SOMEBODY!?!" (as she runs off)

Shot 37: cut to close up of Tea Cake's wounded face as he looks over to where Janie ran off to.

Shot 38: cut to same straight angle of Tea Cake lying on the shore and Janie runs towards him.
Dialogue: Janie "There's no one out there. I'll have to do it myself. Come on, let's getchyou up. Uhhh, come on baby." (as she yanks on his arms trying to make him stand)
Once he doesn't get up she says in anguish
"Oh Tea Cake..." (kneels beside him)

Shot 39: cut to close up of Tea Cake's face; music gets a little louder; very mournful.
Camera: zooms out as Janie leans over him beginning to sob.
Dialogue: Janie (gasps) "TEA CAKE..." (she cries out in agony and sadness)
"Baby wake up." (she says while shaking him)

Fade out-End Scene and begin credits and then bloopers.

Scene Analysis Proposal

Movie: Finding Neverland

Scene: Close to the last scene in the movie.

Scene Running Time:1.16

Description of the Scene: The scene begins with an establishing shot of the whole family, the mother, Sylvia, the four boys and the grandmother, plus James standing in the living room all starring in one direction. Then the camera goes to a long shot of the meadow/backyard of the house where fairies and make-believe characters are dancing and sitting around laughing with each other. Then the camera goes to a long shot from behind the dancing fairies where an Indian takes up most to the screen. Then there is a close up of one particular fairy smiling and laughing with her friends. Then the camera goes to a close up of James and Sylvia as he whispers to her that she what she is looking at is "Neverland". Then once again, there is a long shot of the forest/backyard where everything is green and full of other colors as well, even in the outfits of the different characters. Then it goes to another long shot of a few Indians crouching through the forest. Then there is a shot of a make-believe character who looks like a goblin with a pretty flower on its head and a smile on its face. Then there is a pan/dolly shot of an Indian sort of running through the air and then a close up of her landing on the ground. Then there is a high angle shot zooming into the noirs, aka captain hook and the gang, walking through the fog surrounding the forest. Then there is another high angle shot of the actress in the play playing Peter Pan climbing onto a a leaf and sitting in it. Then there is a low angle shot of the noir, Captain Hook, again who looks around. Then there is a shot of a fairy flying onto the ground landing next to some friends and greeting them. Then there is a close up of the same fairy that was zoomed in on before. Then back to the long shot of the four fairies laughing together. Then a close up of Peter Pan admiringly looking around at everything. Then the camera goes to another high shot of the noirs and slowly zooms out as they fade into the fog. Then there is a close up of two of the boys along with Sylvia and James and the camera does a dolly shot following her as she walks down the steps into the backyard and into the forest. While following her, the camera goes to a high contrast shot where there is a shadow on Sylvia as she descends down the steps. Then the camera continues to follow her with a dolly shot from the side of her. Then the camera shows the family once more, only without her, starring at her as she makes her way through the garden. The camera only flashes to them for a moment and ever so slightly zooms out as it goes back to showing Sylvia walking once more, deeper into the forest. Slowly zooming out and up away from her, all the light seems to get brighter in the distance and then the light behind her slowly fades and only encircles her as she disappears completely.

Intro to World Lit paper

Motivation plays a role behind every decision a person makes, whether they are driven by their own greed, self-indulgence, or their individual set of morals something inspires them to make a choice. There are those who have very strong beliefs and certainty behind their decisions while others lack much confidence at all; they let others make their own decisions and do not really care either way. This difference in human beings can be seen between Medea in Euripides’ Medea and Antigone in Anouilh’s Antigone. The revelation of each character’s individual process of decision making, their relationships, along with their actions, illustrates their levels of conviction, ultimately defining the purpose of each character’s life and why they decide to make the choices that they do.

1st Paragraph:
Both Medea and Antigone have to make some very big decisions in these two works, the only difference being how they come to those decisions. Evoking pity from the audience, Medea naturally feels pain and sadness after Jason marries another woman and she asks herself, “What good is left for me in living?” (1.1.145). Depressed, Medea cannot find any motivation for living anymore… until she makes a choice. She tells the Chorus of women, “a test awaits the newlyweds, no little ordeal for the happy pair” (1.1.366-367). This quote foreshadows Medea’s actions in trying to get back at Jason for marrying another woman and Creon for exiling her along with her sons. This reveals that revenge exists as Medea’s only motivation now for living.

2nd Paragraph:
Antigone’s motivation for her actions remains quite the opposite of Medea’s. Antigone, known as being young and reserved; like a “thin little creature” (Antigone 3) who prefers to be alone, has a secret strength that no one sees until she goes against the law set by her uncle, King Creon. Antigone sees going against the law as something destined to happen. While talking with Ismene about the whole idea she compares their actions to Creon’s, “He will do what he has to do, and we will do what we have to do. He is bound to put us to death. We are bound to go out and bury our brother. That’s the way it is” (Antigone 11). She views burying her brother as a duty, something that she has to do not matter what the consequences. Even though Ismene tries to make her understand that the consequence will be death, Antigone feels fully aware of that fact and still wants to carry out the deed. She stands by her own belief of what is right and wrong, not by what the law or anyone else says. Antigone and Medea contrast in that way because purely revenge motivates Medea whereas Antigone’s own set of morals motivates and drives her. Both of these reasons bring about consequences that both women are willing to face, showing their inner strength and courage of conviction.

Anouilh Journal 4

1. One theme in Anouilh's Antigone is the theme of making the play modern. This is completely different from the other plays. Because it is made to be more modern, there are cigarettes, tobacco, talking about having blood taken, etc. These things are never mentioned in the other plays because they are set during the time of ancient Greece so these things were not even heard of them.

2. There is another theme of death, which happens to be in all of the novels. This theme is simply apart of tragedy. If there's tragedy, there's death. It's just how it is. Without death, I believe there would be no tragedy. And it's not even all of the main characters who have to die, it's just someone in general. Tragedy is very sad in that way/how it is accompanied by death. In Anouilh's Antigone death is a very important idea that is repeatedly discussed and questioned about whether life is worth living or if dying is easier and more glorious.

Anouilh Journal 3-Word Choice

1. During Creon and Antigone's argument Anouilh repeats the idea of death. Death has been a theme throughout the book, and it is especially discussed for a while by the two of them. Antigone does not fear death while Creon may not fear it either, he does fear her death in that he doesn't want her to die. It feels as though whether she lives or dies is the only thing she has control over and that's why she's "ok" with dying. This is shown when Creon is asking her why she has done this crime and is willing to die for it. She says she did it, "For nobody. For myself" (Anouilh 33). Anouilh shows Antigone's sincerity and determination as well as Creon's frightened soul by bringing up death again and again.

2. The use of ambiguous terms by Anouilh creates this sense of detachment from the different characters that use such unclear words at times. For example, when Creon says the phrase, "In which beasts say no to hunger or to propagation?" (Anouilh 37). This phrase makes the reader feel uncomfortable because they cannot fulling understand what he is trying to say from not knowing that word. This can distract the reader or it can make the reader pay better attention so that they can try to figure out its meaning through context.

Character Analysis for skit Journal

First, second and third woman:
I don't really think that any of them have some deep motivation other than not wanting the boys to die, but ultimately, they are too timid to even go in there to stop Medea; " Shall we break in, snatch them from death?" (Medea 72). Their motivation for staying out of it is their fear for what Medea would do to them if they tried to stop her. Medea is very powerful so all these women can do is stand outside the room and listen to the boys scream as their mother murderers them... sad.

Chorus:
The Chorus' motivation comes from telling what's right and wrong. In this particular scene they are very angry with what Medea has done to her children calling her a "Woman of stone" with a "heart of iron" (Medea 72). They can not believe that she could do such a thing as kill her own blood. They know that this is wrong and speak the truth in saying so.

Leader:
The Leader's motivation comes from trying to help the characters by speaking the truth and informing them of what is going on. For example, in this scene, he is trying to make Jason understand that his sons are dead, but he has to tell him a few times in order for him to fully comprehend the fact; "You cannot think of them as being alive" (Medea 73). Jason is finally able to grasp the concept and then he talks to Medea. The Leader does his job.